A Section Key of Bb Key of Eb

Measures one and two Measure three Measure four

Bb maj.7 is the Ionian chord of the Key of Bb. This establishes the Tonal Center on Bb.

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 Key of Bb

Measures five and six Measures seven and eight Measures nine and ten

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.

Ab7 is a Flat Seven Chord. This is the Altered Lydian Chord of the Key of Eb. However, the Tonal Center is still Bb.

The (b6) is a Leading Tone

that Pulls into (5), the 5th of the Bb maj.7 Chord in measure nine.

In measure Nine, we’ve come home, back to the Bbmaj.7 Tonal Center Chord.

Key of F Key of Bb

Measure eleven and twelve Measure thirteen Measure fourteen

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

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

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 Measure sixteen

From here, go back to measure one for the repeat of the A section

Here, Cmin.7 is indicated as a Two Chord. This is because the Chord progression is headed back to the Bb Ionian Tonal Center.

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 Key of Bb

Measure eleven and twelve Measure thirteen Measure fourteen

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

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

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 and sixteen

This completes both repetitions of the A section. After the second ending we go to the bridge

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

The Bridge, measure Thirteen The Bridge, measure Fourteen

The Bridge, measure Fifteen The Bridge, measure Sixteen

Key of Bb

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 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 Position Three in Bb at 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.