2-5-1

I’m wondering if ‘Here To Stay’ from the Jazz program commences in the key of D minor and then modulates to A minor around the third line. I’ve had a student ask me why the g in the A11 chord is natural. Any thoughts? It…

• Last updated 2 years ago
• 2-5, 2-5 chord progression, 2-5-1, 2-5-1 chord progression, changing keys, common chord, deceptive cadence, harmony, Here to Stay, jazz, jazz chords, jazz clues, Joe Gilman, key, key change, key of the moment, key signature, leading tone, minor keys, modulation, Neil Moore, parent key, pivot chord, relative key, relative major, relative minor, tonality, tonic, tonicization, tonicize, tonicizing

Looking for advice from the music theory nerds in our community. I’d like to incorporate more theory for some of my teens and students in higher levels. What do you use? Books? Online tools? This is for students in levels 7 and up, who are…

• Last updated 3 years ago
• 2-5-1, 2-5-1 chord progression, 7th chords, alternative perspective of scale, chord progression, chord progressions, chord theory, circle of 5ths, circle of fifths, dominant 7, dominant 7th, dominant 7ths, ear training, integrated theory, intervals, jazz chords, key chords, major 7, major 7th, major 7ths, minor 7, minor 7th, minor 7ths, naturally occuring 3s and 4s, naturally occurring chords, naturally occurring notes, Neil's Responses (YouTube Videos), NO 3 & 4, NO34, PB, playing-based, relative key, relative major, relative minor, relevant, role of scale, root chords, root position, scale, scale formula, scale theory, scale tone chords, scales, theory, theory workshop, transcribing, transcribing composition