How to practice Best Is Yet To Come (Page 2), The with play-along tracks?

Use the play-along backing track above to practice Best Is Yet To Come (Page 2), The in the key of B. 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 Best Is Yet To Come (Page 2), The?

For soloing over Best Is Yet To Come (Page 2), The, 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 Best Is Yet To Come (Page 2), The?

Best Is Yet To Come (Page 2), The was composed by Coleman Cy. It is a medium-swing standard in 4/4 time. The original key is Ab; this page shows it transposed to B.

What key is Best Is Yet To Come (Page 2), The in?

The original key of Best Is Yet To Come (Page 2), The is Ab. The form is CCDA with 32 bars. This page shows the chart transposed to B.

What scales work for improvising over Best Is Yet To Come (Page 2), The?

Recommended scales for Best Is Yet To Come (Page 2), The in B: 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.

Do Re MiC D E

Best Is Yet To Come (Page 2), The

Coleman Cy4/4medium-swing

BPM: 120

Chord Diagrams — Best Is Yet To Come (Page 2), The in B (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

Starting fret

Open123456789101112

E7/F

B13

A♯7♭9♭13

A♯ - D - F - G♯ - B - F♯

C♯7sus4

E6/F

G13

Cmaj7

Caug

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Best Is Yet To Come (Page 2), The in B

Key of B

B major mixes barre and open elements. The B chord itself is a barre at fret 2, but E and A are comfortable open chords forming the IV and V. The open B string rings as the root, allowing creative drone-based arrangements. B is a intermediate-level key on guitar because the open B string rings as the root and the open E strings provide the 4th — useful for sus4 voicings and drone effects. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.

Voice Leading

The bass line moves through G# to E (descending major third), E to G# (ascending major third), G# to F# (descending whole step), F# to B (ascending perfect fourth), B to F (ascending tritone), F to E (descending half step), E to F# (ascending whole step), F# to B (ascending perfect fourth), B to A# (descending half step), A# to D# (ascending perfect fourth), D# to E (ascending half step), E to C# (descending minor third), C# to C# (ascending unison), C# to F# (ascending perfect fourth), F# to G# (ascending whole step), G# to A (ascending half step), A to E (descending perfect fourth), E to G (ascending minor third), G to E (descending minor third), E to G (ascending minor third), G to C (ascending perfect fourth), C to C (ascending unison), C to C (ascending unison), C to C (ascending unison), C to C (ascending unison), C to A (descending minor third), A to D (ascending perfect fourth), D to G (ascending perfect fourth). 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 G to G# by half step.

Scales for Improvisation

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

medium-swing4/4 · 32 bars · Form: CCDA

Chords: G♯m, E7/F, G♯m6, F♯7, B7, F7♯11, E7, F♯7♭9, B13, A♯7♭9♭13, D♯7♭9, E9, C♯7sus4, C♯7, F♯m7, G♯m7, A6, E6, Gdim7, E6/F, G13, Cmaj7, C7, C6, Caug, C, A7, D7, G7.

Scales for Improvisation B bebop, B bebop major.

Diatonic chords: See all chords in the key of B