A Working Theory

Full Score

 = 100       

Joshua Monson

    
Acoustic Guitar 
  
               
    
                       
 
Piano

 I
I V⁷ I I⁶₄ I IV I I I⁶₄

        
G: V

            
5

Guit.

 
           
        
                      
Pno.

IV⁶₄ vii#⁶/V V
  I
IV I I⁶₄


          
Direct Modulation Sequential Modulation


9

Guit.

 
                        
    
        
  
Pno.

I ii iii IV f#: V VI g#: V VI

A: V
          
       
13

Guit.

 
             

 
     
      
               
   
Pno.

 I  I⁶₄
  D: V6/4    
I V⁷ I I⁶₄ I IV I⁶₄ I I

           
    
17

Guit.


      
      

              
     
Pno.


    
 
V/V V V⁷ V/V ii V⁷ I I I
21 G: V

Guit.

      
            



   
   

      

 
   
  
Pno.


             
I I⁶₄ I I⁶₄ I V⁶₅/ii ii⁶ ii⁶₄ vi⁶₄ vi


V V² V⁶₄/iii V⁴₃/iii iii

   

25

Guit.

  
    

 
      

 
             
 
Pno.

I I ii iii IV iii ii I V/iii iii IV V/V V⁷

2
 
            
   
29

Guit.


              
     
   
                  

Pno.

I V⁶₄ V I V⁴₃ V I I I