How to practice And On The Third Day with play-along tracks?

Use the play-along backing track above to practice And On The Third Day in the key of F. 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 And On The Third Day?

For soloing over And On The Third Day, 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 And On The Third Day?

And On The Third Day was composed by Michael Gibbs. It is a swing standard in 4/4 time. The original key is D; this page shows it transposed to F.

What key is And On The Third Day in?

The original key of And On The Third Day is D. The form is A with 25 bars. This page shows the chart transposed to F.

What scales work for improvising over And On The Third Day?

Recommended scales for And On The Third Day in F: 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.

And On The Third Day in F

Michael Gibbs()swing

Do Re MiC D E

Section A

♬

BPM: 120

Chord Diagrams — And On The Third Day in F (Guitar)

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FingerNoteDegree

Chord Voicings Closest Voicing

And On The Third Day in F

Key of F

F major is the gateway to barre chords. While F itself requires a full barre at fret 1, the remaining diatonic chords (C, Dm, Am, G, Bb) mix open and barre shapes. The open high E acts as Fmaj7's seventh, adding unexpected richness. F is a intermediate-level key on guitar because the open high E string is the major seventh of F, creating a lush Fmaj7 resonance even in basic shapes, but the F barre chord itself is the first big hurdle for beginners. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.

Voice Leading

The bass line moves through F to D# (descending whole step), D# to G (ascending major third), G to F (descending whole step), F to A (ascending major third), A to A (ascending unison), A to G (descending whole step). The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from G to F by whole step.

Scales for Improvisation

F 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, F Mixolydian adds the flat seventh for an authentic blues-rock edge.

swing4/4 · 25 bars · Form: A

Chords: F7, D♯Maj7, G7, FMaj7, A7, Am7♭5, G7♭5.

Scales for Improvisation F bebop, F bebop major.

Diatonic chords: See all chords in the key of F