FOR EXAMPLE

Here are just a few tunes I had examined before preparing this book, noting the number of chord symbols and how many of those chords are different (which of course vary depending on whose version of the tune you're examining). Compare those with the minimum number of key centers—how few keys a soloist could employ to be virtually completely "inside" the chord changes of the moment:

• Blue Moon: 62 chords, 10 of them different, but only 3 key centers

• But Not for Me: 45 chords, 11 different, but 1 key center

• Bye Bye Blackbird: 34 chords, 9 different, but 2 key centers

• Love is Here to Stay: 51 chords, 13 different, but 3 key centers

• My Funny Valentine: 58 chords, 14 different, but 3 key centers

• Over the Rainbow: 61 chords, 14 different, but 4 key centers

• You Make Me Feel So Young: 73 chords, 16 different, but 2 key centers

In fact, the average tune I examined had 50 chord changes, 14 of them different, but only 4 key centers! The practicality of this approach is self-evident: these tunes average more than 10 times as many chord-symbol interruptions as key centers.

I ask you: would you rather initially learn to solo over a new tune facing 50 chord-interruptions or just 4 key-centers?