First off, I just want to say, what caught my eye ain't no part of nothin', but it's kinda something: Brunello - meet Bruno. Bruno - Brunello.
I feel like Letterman at the Oscars - "Uma - Oprah. Oprah - Uma."
Anyway ...
I'm all in favor of anyone explaining this stuff in simple, easy-to-understand ways. You've done a good job of that.
Just one thing:
"6 2 5 1 – This common jazz turnaround is just a progression of 4ths. For any key, start with the 6th of that key and move left on the circle. For example, a 6 2 5 1 in C would be Am Dm G7 C. Starting on the A, just move back stepwise to C."
What I've run into a lot more than this progression - which is enharmonic - is this: A7 D7 G7 C. That shows up a lot in swing, which I've played a whole lot of over the years, but also in other genres, even bluegrass. I even call it "the Salty Dog form," because that's the whole song right there (in another key). Also, because that II7 V7 I shows up so much, and the interpolated chromatic descent from the I to the VI7 brings things back around again, it gets used a lot, and again, not just in swing, but in blues, rock, country, and others.
Now I don't profess to know much about jazz, nor why this works nor is as popular as it is and has been for so long, but I just wanted to include it.
Carry on!
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