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I think it works there because it is the end of the circle of 5ths (not necessarily all dominant, but the root movement anyway starting with the Bm7) , but the F chord (FAC), especially with the melod …

The RH in m.66 and 68 are not scales (and are not being played in scale format.) Usually in analysis we would not label something that is not played linearly as a scale. M.68 is easy - it is an A7 ch …

That "A# in a C#m chord" would perhaps be better considered an inverted viidim7/V. Then when the A# appears again, it is in a V/V. Both of these uses of secondary dominance in the 2nd ending make for …

I did not find the chord-scale approach helpful, in which each chord uses a different scale. I learned more about improvising by listening to lots of jazz than by matching up my modes and chords. In …

This is definitely in G Major overall, and the first phrase ends on a V chord, with the melody on the leading tone. However, the A Major chord right before it is obscuring the tonic, making the D Majo …

If someone is asking about the key of the instrument, I would answer "I play in concert pitch." If when jamming, someone asks "what key are you in?" I would say, "I am playing in (name a key) concert …

According to Elaine Gould in Behind Bars, which most agree is the definitive text on notation and preparing parts: "Position a mute instruction after player numbers (if these are specified), as the f …

In using 7th chords, it is important to consider the movement of the scale degrees. 7 likes to lead to 8, 4 likes to move down to 3, etc. When resolving a 7th chord it is preferred that these types of …

In four-part harmony, this rule is not on the "most important" list, but the perfect intervals, sounding so open, can draw attention to themselves when one is followed by another. This can make them s …

The harmonic and melodic minors have more of a melodic function, and the chords are adjusted to incorporate the changes in melody. They are basically chords that are borrowed from the parallel major k …

Seventh chords have different qualities, just like intervals and triads do. The qualities of seventh chords come from the combination of the quality of the triad and the quality of the 7th between the …

The number of semi-tones between notes is not sufficient for describing an interval. A C to an F#, for example, has 6 semi-tones and makes an augmented fourth, but the same number of semitones exists …

There are three main types of modulation: Pivot chord: a chord from the original key belongs to a related key and takes on a new function in the new key. For example, a C Major triad would be a I cho …

Other scales (and the chords built from them) can be brought in, but this gets into more advanced theory. …

Normally, at the beginning of the piece where the tempo marking is, there is a note that says to play it in a swing style, or a marking to show that the eighth notes are meant to be uneven. In the abs …