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

G♯7/c

A Nightingale Sang in Berkeley Square in A

A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

The bass line moves through A to F# (descending minor third), F# to C# (descending perfect fourth), C# to A (descending major third), A to D (ascending perfect fourth), D to C# (descending half step), C# to D (ascending half step), D to E (ascending whole step), E to D (descending whole step), D to G (ascending perfect fourth), G to B (ascending major third), B to A (descending whole step), A to C# (ascending major third), C# to A# (descending minor third), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to G# (ascending unison), G# to F (descending minor third), F to E (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 E 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: AMaj7, F♯m7, C♯m7, A7, D, C♯7, Dm6, E7, Dm7, G7, Bm7, A6, C♯, A♯m7, D♯m7, G♯7, G♯7/c, Fm7, Edim7.

Scales for Improvisation A bebop, A bebop major.

Diatonic chords: See all chords in the key of A