## What’s New In?

I’m now pretty much agreed that this (the first post of you!) is the hardest chart of the trilogy to navigate, so I’m going to wrap it up. I don’t think the lines have been too confusing, just a bit busy. Please read this thread for background information on the three charts. I’ve left the diagrams for that below. Also, I hope you agree the most crucial element is the change in line from B to D, and the ability to do the split in A-C is largely due to the position of 4. For those who did not find all the crosses in the second chart, 4 crossing in B, the line that gets crossed in D, and the line that gets crossed in A and C, is an example of a key change. You can see it happening in two ways, when the key changes into Gmaj7sus in B, and when it changes into Fmaj7 in D. The most important thing to have on your mind is that you need to go out of key in G7maj. I’d say this would be the most obvious crossing, but I disagree. The line that gets crossed in G7maj is neither the 2nd or the 3rd line, but the most important of all. It is the line that is already crossed in the parallel, 5th line of F7maj. Only when you decide to get out of F7maj can you traverse this line. In other words, only you can decide where to go next, and this is a given. The answer is clearly E. The line that gets crossed in C is also E (the same line as in B). To go any further ajd we will have to go into Ab7, which is the most important B or G b6. All these notes are called Bb, Cb, etc. Even though the key is just in G, the whole of the chord changes anyway. This is not a transposition, but a shift in the tonal center. The G7maj7sus chord is the most important chord in the theme. It represents the climax, and still needs to be played in its original key. The chord is an Em shape in D, and this is the beginning of the reprise. You may think you’re in the middle of the bridge, but you are not. At D the tonal center has shifted to Eb, but the Bb in the bass still