Who composed A Nightingale Sang in Berkeley Square?

A Nightingale Sang in Berkeley Square was composed by Manning Sherwin. It is a ballad standard in 2/2 time. The original key is Eb; this page shows it transposed to A#.

What key is A Nightingale Sang in Berkeley Square in?

The original key of A Nightingale Sang in Berkeley Square is Eb. The form is AABBA with 38 bars. This page shows the chart transposed to A#.

What scales work for improvising over A Nightingale Sang in Berkeley Square?

Recommended scales for A Nightingale Sang in Berkeley Square 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.

A Nightingale Sang in Berkeley Square in A#

Manning Sherwin()balladSlowly

Do Re MiC D E

BPM: 120

Chord Diagrams — A Nightingale Sang in Berkeley Square in A# (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

A7/c

A Nightingale Sang in Berkeley Square in 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 G (descending minor third), G to D (descending perfect fourth), D to A# (descending major third), A# to D# (ascending perfect fourth), D# to D (descending half step), D to D# (ascending half step), D# to F (ascending whole step), F to D# (descending whole step), D# to G# (ascending perfect fourth), G# to C (ascending major third), C to A# (descending whole step), A# to D (ascending major third), D to B (descending minor third), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to A (ascending unison), A to F# (descending minor third), F# to F (descending half step). A half-step bass movement creates a strong leading-tone pull that demands resolution. The root motion by larger intervals (fourths and fifths) gives each chord change a strong, decisive character. When the progression loops, the bass returns from F 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.

ballad2/2 · 38 bars · Form: AABBA

Chords: A♯Maj7, Gm7, Dm7, A♯7, D♯, D7, D♯m6, F7, D♯m7, G♯7, Cm7, A♯6, D, Bm7, Em7, A7, A7/c, F♯m7, Fdim7.

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

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