Do Re MiC D E

Midnight Train To Georgia

Gladys Knight and The Pips (Jim Weatherly)4/4soul♩= 92
F/C
D♯/B♭
D♯/A♭
F/C
D♯/B♭
D♯/A♭
D♯/B♭
D♯/B♭
D♯/B♭
D♯/A♭
%
D♯/B♭
D♯/B♭
D♯/B♭
D♯/A♭
D♯/A♭
D♯/E♭
D♯/A♭
D♯/E♭
D♯/A♭
Gm7/E♭
D♯/A♭
%
D♯/E♭
F7sus4
F7sus4
F/C
D♯/B♭
D♯/A♭
D♯/B♭
D♯/B♭
D♯/B♭
D♯/A♭
%
D♯/B♭
D♯/B♭
D♯/B♭
D♯/A♭
%
D♯/E♭
D♯/A♭
D♯/E♭
D♯/A♭
Gm7/E♭
D♯/A♭
%
D♯/E♭
F7sus4
F7sus4
F/C
D♯/B♭
D♯/A♭
D♯/E♭
D♯/A♭
D♯/E♭
D♯/A♭
Gm7/E♭
D♯/A♭
%
D♯/E♭
F7sus4
F7sus4
F/C
D♯/B♭
D♯/A♭
F/C
D♯/B♭
D♯/A♭
D♯/E♭
D♯/A♭
F/C
D♯/B♭
D♯/A♭
D♯/E♭
D♯/A♭

Chord Diagrams — Midnight Train To Georgia in A# (Guitar)

Display
FingerNoteDegree
Starting fret
Open123456789101112
A♯
3frEADGBE11143x
EADGBE11x234
6frEADGBE111342
8frEADGBE11x243
F/C
3frEADGBE11x243
EADGBE111342
5frEADGBE111432
8frEADGBE111234
D♯/B♭
3frEADGBE11x432
EADGBExx1243
6frEADGBE11x234
8frEADGBE111xx4
D♯/A♭
3frEADGBE11x432
EADGBExx1243
6frEADGBE11x234
8frEADGBE111xx4
Dm7
5frEADGBE111132
EADGBExx312
6frEADGBExx2314
10frEADGBE111113
Fsus4
3frEADGBExx1234
EADGBE111234
8frEADGBE111234
10frEADGBE11xx2x
F
3frEADGBE11x243
EADGBE111342
5frEADGBE111432
8frEADGBE111234
C9
EADGBE221334
7frEADGBE112344
7frEADGBE131214
9frEADGBExx2143
Dm
EADGBExx231
5frEADGBE111342
6frEADGBEx4231x
10frEADGBE111134
D♯/E♭
EADGBExx1243
3frEADGBE11x432
6frEADGBE11x234
8frEADGBE111xx4
Gm7
3frEADGBE111113
5frEADGBE11x423
8frEADGBE11x234
10frEADGBE111132
Gm7/E♭
3frEADGBE111113
5frEADGBE11x423
8frEADGBE11x234
10frEADGBE111132
F7sus4
EADGBE111134
6frEADGBE111234
8frEADGBE111134
10frEADGBE11xx34
D♯
EADGBExx1243
3frEADGBE11x432
6frEADGBE11x234
8frEADGBE111xx4

Explore More

Midnight Train To Georgia 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 F (descending perfect fourth), F to D# (descending whole step), D# to D# (ascending unison), D# to D (descending half step), D to F (ascending minor third), F to F (ascending unison), F to C (descending perfect fourth), C to D (ascending whole step), D to D# (ascending half step), D# to G (ascending major third), G to G (ascending unison), G to F (descending whole step), F to D# (descending 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 D# to A# by perfect fourth.

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.

soul4/4 · 92 bars · Form: AABCB

Chords: A♯, F/C, D♯/B♭, D♯/A♭, Dm7, Fsus4, F, C9, Dm, D♯/E♭, Gm7, Gm7/E♭, F7sus4, D♯.

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

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