A Section Key of Bb
Measures one and two Measure three
Bb maj.7 is the Ionian chord
of the Key of Bb. This
establishes the Tonal Center
on Bb.
Key of Eb
Measure four
Because a tonal Center has
already been established on
Bb maj.7, Fmin.7 is
functioning as a Five Chord.
The Key has changed, but
the Tonal Center has not, it’s
still Bb.
Bb7 is the Mixolydian chord
of the Key of Eb. The Tonal
Center is still on Bb. The
Mode has changed to Bb
Mixolydian.
Also notice that only one
note has changed (7) has
moved to (b7).
Key of Eb
Measures five and six
Eb maj.7 is the Ionian chord
of the Key of Eb.
Because the Tonal Center is
still on Bb, Eb maj.7 sounds
as a Four Chord.
Key of Bb
Measures seven and eight Measures nine and ten
Ab7 is a Flat Seven Chord. In measure Nine, we’ve
This is the Altered Lydian come home, back to the
Chord of the Key of Eb. Bbmaj.7 Tonal Center
However, the Tonal Center is Chord.
still Bb.
The (b6) is a Leading Tone
that Pulls into (5), the 5th of
the Bb maj.7 Chord in measure
nine.
Key of F
Measure eleven and twelve
C7 is the Mixolydian chord
of the Key of F. The Tonal
Center is the Ionian Tone F.
This is a Key Change
You feel a “lift” at this point
in the tune. This is because
Eb in the key of Bb gets
raised to E in the Key of F
Key of Bb
Measure thirteen
C min.7 is the Dorian Chord
of the Key of Bb, and we’re
back in the original Key.
However, the tonal focus is
briefly on C minor Dorian,
which is why it’s indicated
here as a One Chord
Measure fourteen
G7b9 is functioning as the
Five Chord of C minor
Dorian.
Even though Key Position
Two is indicated, only two
notes change (6) to (b6),
and (b7) to (7).

Measure fifteen
Here, Cmin.7 is indicated as a
Two Chord. This is because the
Chord progression is headed
back to the Bb Ionian Tonal
Center.
From here, go back to measure one
for the repeat of the A section
Measure sixteen
The Melody note at this point is
a Db. This is why an F7+5 can
be used here.
(3) To (b3) is the only
change.
Key of F
Measure eleven and twelve
C7 is the Mixolydian chord
of the Key of F. The Tonal
Center is the Ionian Tone F.
This is a Key Change
You feel a “lift” at this point
in the tune. This is because
Eb in the key of Bb gets
raised to E in the Key of F
Key of Bb
Measure thirteen
C min.7 is the Dorian Chord
of the Key of Bb, and we’re
back in the original Key.
However, the tonal focus is
briefly on C minor Dorian,
which is why it’s indicated
here as a One Chord
Measure fourteen
G7b9 is functioning as the
Five Chord of C minor
Dorian.
Even though Key Position
Two is indicated, only two
notes change (6) to (b6),
and (b7) to (7).
 This completes both repetitions of the A section.
After the second ending we go to the bridge

Measure fifteen and sixteen

Here, Cmin.7 is indicated as a

Two Chord. This is because the
Chord progression is headed
back to the Bb Ionian Tonal
Center.
Key of B

The Bridge, measure One The Bridge, measure Two The Bridge, measures Three and Four

To keep measure numbers from getting totally out of hand, I’m numbering the 1st measure as One, and the entire
bridge as one through sixteen.
Key of A

The Bridge, measure Five The Bridge, measure Six The Bridge, measures Seven and Eight
Key of G

The Bridge, measure Nine The Bridge, measure Ten The Bridge, measures Eleven and Twelve
 Key of F

From here, go back to slide

one for the last A Section, and
take the 2nd ending.
The song form is AABA.

As you can see the basic way

The Bridge, measure Thirteen
The Bridge, measure Fourteen
to hack this tune, or any tune
are the Five Basic Key
Positions.
To work out this tune all over
the fretboard, start from Key
Position Two in Bb at the 1st
fret.

Key of Bb Key Position Three in Bb at

The Bridge, measure Fifteen
the 3rd fret.
This study is from Key
Position Four in Bb at the 5th
fret.
Key Position Five in Bb at the
8th fret.
Key Position One in Bb at the
11th fret.
Once you’ve done this, start
going up and down the
fretboard.
The Bridge, measure Sixteen