What key is A Nightingale Sang in Berkeley Square in?

A Nightingale Sang in Berkeley Square was originally composed in the key of Eb. This page shows the chord chart transposed to A.

What is the form of A Nightingale Sang in Berkeley Square?

A Nightingale Sang in Berkeley Square is a 56-bar composition in AABBA form, composed by Manning Sherwin in null.

What scales to use to improvise over A Nightingale Sang in Berkeley Square?

To improvise over A Nightingale Sang in Berkeley Square in A, recommended scales are: A bebop, A bebop major.

Who composed A Nightingale Sang in Berkeley Square?

A Nightingale Sang in Berkeley Square was composed by Manning Sherwin in null. It is a widely performed Jazz standard at jam sessions and concerts worldwide.

A Nightingale Sang in Berkeley Square in La

Manning Sherwin()balladSlowly

BPM: 120

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

Chord Voicings Closest Voicing

Mi7/aes

Fa♯m7/bes

Sol♯7/c

Do - Sol♯ - Do - Re♯ - Fa♯

Fam7

Midim7

A Nightingale Sang in Berkeley Square in La

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 A (descending perfect fourth), A to E (descending perfect fourth), E to D (descending whole step), D to G (ascending perfect fourth), G to B (ascending major third), B to E (ascending perfect fourth), E to C# (descending minor third), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to F# (descending perfect fourth), F# to F# (ascending unison), F# to A (ascending minor third), 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 · 56 bars · Form: AABBA

Chords: LaMaj7, Fa♯m7, Do♯m7, La7, Re, Do♯7, Rem6, La, Mi7, Rem7, Sol7, Sim7, Mi7/aes, Do♯m7♭5, Fa♯7, Sim7♭5, Fa♯m, Fa♯m7/bes, La6, Do♯, La♯m7, Re♯m7, Sol♯7, Sol♯7/c, Fam7, Midim7.

Scales for Improvisation La bebop, La bebop major.