How to practice Who Can I Turn To? with play-along tracks?

Use the play-along backing track above to practice Who Can I Turn To? in the key of A#. Listen to the audio with bass, piano, and drums, start by playing the melody, then practice improvisation and soloing over the chord changes.

What scales to use for soloing over Who Can I Turn To??

For soloing over Who Can I Turn To?, recommended scales include: bebop, bebop major. Use arpeggio patterns over each chord to create melodic lines that follow the harmony of this jazz tune.

Who composed Who Can I Turn To??

Who Can I Turn To? was composed by Anthony Newley / Leslie Bricusse in 1964. It is a swing standard in 4/4 time. The original key is Eb; this page shows it transposed to A#.

What key is Who Can I Turn To? in?

The original key of Who Can I Turn To? is Eb. The form is A with 32 bars. This page shows the chart transposed to A#.

What scales work for improvising over Who Can I Turn To??

Recommended scales for Who Can I Turn To? in A#: bebop, bebop major. Scales and arpeggios update in real-time as each chord plays, with context-aware analysis (e.g., Phrygian Dominant over secondary dominants).

How does the interactive backing track work?

The backing track plays with realistic walking bass, drum patterns, and voice-led chord voicings. Scales and arpeggios update in real-time as each chord plays. You can limit the fretboard zone for close-proximity voicings, toggle a reference melody, loop any section, and choose between multiple sound presets. Works for guitar, piano, bass, ukulele, and 7 more instruments.

Can I edit the chord chart?

Yes. You can modify the structure, chords, and arrangement of any standard to match your preferred version or create your own reharmonization.

Who Can I Turn To? in A#

Anthony Newley / Leslie Bricusse(1964)swing

Do Re MiC D E

BPM: 120

Chord Diagrams — Who Can I Turn To? in A# (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

A♯/D

Who Can I Turn To? in A#

Key of A#

A# (Bb) major requires barre chords rooted at fret 1 on the A string or fret 6 on the E string. Despite the barre demands, it is a common key in funk, New Orleans R&B, and brass band music. The open D string can ring as the major third for added color. A# is a intermediate-level key on guitar because the open D string is the major 3rd of Bb, adding a bright color if allowed to ring. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

The bass line moves through A# to C (ascending whole step), C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to D (ascending major third), D to D# (ascending half step), D# to F (ascending whole step), F to A# (ascending perfect fourth), A# to A (descending half step), A to G (descending whole step), G to C# (ascending tritone), C# to G (ascending tritone), G to A (ascending whole step), A to D (ascending perfect fourth), D to C (descending whole step), C to A# (descending whole step), A# to C (ascending whole step). A half-step bass movement creates a strong leading-tone pull that demands resolution. The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from C to A# by whole step.

Scales for Improvisation

A# major pentatonic works because every note is either a chord tone or a safe passing tone — there are no avoid notes. For soloing, this means you can play freely without clashing. Over dominant seventh chords, A# Mixolydian adds the flat seventh for an authentic blues-rock edge.

swing4/4 · 32 bars · Form: A

Chords: A♯, Cm7, F7, A♯Maj7, Dm7, D♯Maj7, Fm7, A♯7, A7, Gm7, C♯dim, G7, Am7♭5, D7, C7, A♯/D, Cm9.

Scales for Improvisation A# bebop, A# bebop major.

Diatonic chords: See all chords in the key of A#