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Ian B., California

Look at the music book for FL4. 3 flats. Also, the first and last bass note is C hinting at the tonal center.

Mark M., New York

Ian Yes. And yes. And yet: it doesn’t really ever sound like C is a definitive tonal center, even at those starting and ending moments which both have C in the bass. Measures 9-11 do sound like Eb Major (C Minor’s relative major, sharing the same key signature), but none of the rest of the piece really sounds definitively like either C Minor or Eb Major. The other moment that sounds to me like it most clearly would reflect a key is the 2nd measure, sounding like it’s landed on a tonal center of F Minor, but nothing really suggests that as an answer. I’m very curious to hear Neil Moore not only give an answer but elaborate on the shifting tonality of the piece…

Ian B., California

Mark I agree. And even ending sounds like we’ve modulated to me 😂. My comment is merely suggestive of a common “clue” in written notation. I will often tell students to look for those clues and then LISTEN for more.

Mark M., New York

Ian With you all the way here.

All three tailpiece chords feel to me like they may, like with the beginning of the piece, suggest Ab Major or F Minor (both 4 flats key signature). I’ve always imagined the overall sense of shifting/modulating may have been intended as an expression of feeling like there’s no solid foundation as one gropes through complex feelings.

Gabrielle B., Iowa

I’m with the guys but mostly Cm I feel. But jazz is so much it’s own thing with mode shifts and all that

Stephen R., California

Definitely has a polytonal feel!

Neil Moore

Ok, here’s a different perspective of ‘Dark Blue.’ Dr. Joe Gilman’s analysis.

https://www.facebook.com/theneilmoore/videos/1169781743788596