Analysing Harmony

MICHAEL BARKLANALYSING HARMONY Published by Michael Barkl 7/4 Pleasant Avenue, North Wollongong NSW 2500, Australia Copyright © Michael Barkl, 2009 2 CONTENTS Preface Chapter One: Chapter Two: Chapter Three: Chapter Four: Chapter Five: Chapter Six: Chords and Extensions Chord Progression Principles of Modulation Diminished Chords and Patterns Seven Analytical Examples Substitute Chords 3 5 10 15 20 23 26 33 38 Chapter Seven: Cadences Chapter Eight: Passing Diminished Chords and the Death of Chord ii Blues Analysing Excerpts from Standards Chapter Nine: Chapter Ten: 42 45 Chapter Eleven: Analysing Standards Chapter Eleven: Analysing The Beatles Chapter Thirteen:The ‘Tristan Chord’ 49 58 60 3 an analytical understanding can greatly assist the improvising musician to develop broader and more complex melodic ideas over longer time-frames. Its purpose is to make some kind of sense or order from tonal harmony as used in the popular music of the mid20th century. Secondly. other musics. it may assist songwriters suffering from the ‘lost chord’ of songwriter’s block. This booklet is therefore not about truth but expediency. Firstly.PREFACE ‘To define something is to begin to lie about it’. as they say. the kind of music that is known as the ‘great American songbook’ and has been used as ‘standards’ by jazz musicians. such as classical and pop. 4 . it reflects the response of the modern musician that has grown up with American music. The purpose of the booklet is twofold. The patterns and substitute chords analysed here can provide a range of chords that have the ‘correct’ harmonic function: it’s then a matter of choosing one according to taste. may be usefully compared with it to highlight similarities and differences of tonal use. because it is highly ‘refined’. in the sense of being systematised and predictable. This is not an academic work and does not intend to provide an accurate historical basis for its observations. rather than responding to each individual chord as it comes along. Instead. The benefit of using this kind of repertoire is that. London: Vintage. Formalised phrase endings. Two melodies. In other words. though played in one form or another around the world. and now more particularly American ‘culture’. for Indian music it may be melody. To define these calibrations [chords] we begin to disassociate them from their context. and accompanied by percussion and drones. pop and jazz music are ubiquitous. for Australian Aboriginal music it may be social cohesion. began to be heard ‘vertically’.1 A glance at the work of ethnomusicologists will confirm that today’s popular music. With the addition of parts. the so-called ‘scale-tone 7ths’ for both the major and minor scale. Guns. Perhaps the greatest thing African music has to offer the world is rhythm. just as Coca Cola is not necessarily ‘the real thing’. is just one of the many musics humankind have invented. It seems the triumph of Western civilisation. 1 See Jared Diamond. To understand this booklet. highly decorated. it’s not necessarily because he or she is dim. melodic. since the formula was repeated and lost its focus on linearity. derived from middle-eastern Arabic music. Received wisdom is that European music. firstly. both settling to a final cadence through formalised approaches. this doesn’t mean that that is what ‘real music’ is. On the contrary. fell to and settled on their target pitch. Understanding chords and chord progressions is very useful for the contemporary performing or songwriting musician. or cadences. The development of polyphony maintained this ‘horizontal’ orientation by combining melodies. Germs and Steel. it does not mean it’s correct. When we study these chords. this musician may have a more refined or complex understanding. and it is hoped that this booklet may be useful too. modal. That is. was once monodic. So. if a classical musician shows little orientation towards or understanding of chords. For European music it might just be harmony. the vertical cadential formulas came to be heard as ‘chords’.CHAPTER ONE: Chords and Extensions Just because classical. 2005. and it’s just as well to remember here that there’s no suggestion that it’s the ‘best’. it’s just as well to remember that there may be no such thing: chords are slices cut from polyphony. the reader is expected to already understand two things: chords and their conventional extensions [or ‘tensions’ as the Americans would say]. if not correct. is its success as an export. just because something is useful. 5 . we begin to lie about them by simplifying them and focussing on limited aspects of them. III. ii. includes the knowledge that there is a difference between ‘added-note’ chords. The second prerequisite. when used within the key. The inclusion of a 9th. In practice. It must be acknowledged that the minor scale is a slippery concept. and chord IV in C major is always chord IV. the chords of the major scale are I. Hypothetically. 3 6+7=13. used by performing musicians on a regular basis without overtaxing the sensibilities of the common listener. chord I in C major is always chord I. Consideration of the melodic minor as a generator of chords is addressed below. 4+7=11. a 13th may also include an 11th and/or a 9th as per the musician’s performance practice. A 13th [or an 11th or a 9th] implies the inclusion of the 7th. such as C6. they do not change the function of the chord. Chords for the minor scale are conventionally derived from the harmonic minor scale. however. only some are what we may regard as ‘conventional’. Therefore. iii. but also the available extensions. and extensions. ii. 9ths. 11th or 13th makes no comment on the voicing of the chord. such as Cmaj13. An important aspect of chord extensions is that. V. viz [in the key of c minor]:2 Cmin/maj7 Dmin7b5 Ebmaj7+ Fmin7 G7 Abmaj7 Bdim Minor scale-tone 7ths are therefore i. This changes not only the root and colour of the chord.3 Moreover. That is.For the major scale these are [in the key of C]: Cmaj7 Dmin7 Emin7 Fmaj7 G7 Amin7 Bmin7b5 Chords with a major 3rd between the root and the 3rd are given in uppercase Roman numerals. and composers regularly use chords derived from the melodic minor form. vii. that is. VI. V. 11ths and 13ths [or their chromatic alterations] may be added as extensions to any chord. 2 6 . vii. understanding extensions. while chords with a minor third are given in lowercase. vi. iv. IV. 10 Chord ii may be extended to Dmin11b5 and Dmin7b5b13. whereas B is the note in the harmonic minor scale. One sharp implies the key of G major. If it is only a semitone above a lower degree chord note then it is not [but for a couple of exceptions which I will clarify later].8 Chord vii may extend to Bmin11b5. Chord iv may be extended to Fmin9 and Fmin13. 9ths. then it is conventional. 5 The minor 13th chord is somewhat rarer than the minor 9th and minor 11th no doubt because of the discord and functional implications of the tritone between the 3rd and the 13th. whereas B is the note in the harmonic minor scale 13 Although one could say G was the b13th. since F# is out of key. the addition of the 9th is generally heard to be significantly less of a ‘tension’ than the 11th or the 13th. diminished chords do not carry this nomenclature due to their association with the octatonic [or ‘diminished’] scale. so is out of key. 8 But not Amin13. Chord I in C major may extend to Cmaj9 or Cmaj13.There is a simple rule: if the extension is a full tone above a lower degree chord note [the root. Dmin11 or Dmin13. replacing the E with the F].9 In the minor key: Chord i may extend to Cmin/maj9 and Cmin/maj11.4 However. Fmaj7#11 and Fmaj13. However. the musician will play Cmaj7sus [that is. The resultant name for the chord is the clumsy Bdim(addG). 9 Bmin9b5 includes C#. Cmaj7#11 and Cmaj13.5 Chord iii may extend to Emin11 only. 7 G11 will be played as G7sus [or G9sus] and G7#11 is out of key. That is. the min/maj11 is rare because of the tritone between the 7th and the 11th. 10 As with chord ii in the major key.6 Chord IV may extend to Fmaj9. 4 7 . implying the melodic minor descending form. 3rd or 5th]. Cmaj7 will therefore extend to Cmaj9. and Cmaj7#11 therefore implies chord IV in G major. implying the melodic minor descending form. or even Bmin7b5b13. because the F# is out of key. 6 Emin9 includes the out-of-key note F# and Emin13 includes C#. in the key of C major. Chord III may be extended to Ebmaj9+ only. Chord V may extend to G9 and G13. but not Cmaj11. one tone above the b5. chord I will never be Cmaj7#11. The b13 is G. If Cmaj11 is written. with 9 notes to the octave instead of 8.13 Why might this be the case? The western musical sensibility holds that a tone is much less discordant than a semitone when played harmonically [vertically].12 Chord vii may be extended to include the note G. Chord ii may extend to Dmin9.11 Chord V may be extended to G7b9 and G7b13. 11 The 11th would be Bb. 11ths and 13ths become misnomers. Chord VI may be extended to Abmaj7#11 and Abmaj13. 12 The 9th would be Bb.7 Chord vi may extend to Amin9 and Amin11. raises the 6th degree. with a G-bass. whether the melodic movement is ascending or descending. having the flattened submediant as its 3rd. Chord V. accompanies the ‘descending’ form. chords ii and VI accompany the ‘descending’ form and chord III accompanies the ‘ascending’ form. is normally used as the 4-note version of chord i rather than the minor/major 7th. The scale tone 7ths on each degree in the c jazz melodic minor are: Cmin6 Dmin7 Ebmaj7+ F7 In the same way. The ‘descending’ form. follows the key signature. Eb+ is an augmented chord: two major 3rds. Jazz musicians associate the ascending form of the melodic minor with the minor 6th chord and call the scale the ‘jazz melodic minor’. that is. accompanies the ‘ascending’ form. with a G-bass. In practice. having the raised leading note as its 3rd. the minor 6th chord [an ‘added note’ chord. and is known as the ‘natural minor’ or the Aeolian mode. in jazz music at least. which doesn’t require the leading note to be raised. G7b9 is chord vii. raising the 6th and 7th degrees ascending and following the key signature descending. the ‘ascending’ form may descend and the ‘descending’ form may be used ascending. whether the melodic movement is descending or ascending. Ebmaj9+. chord i accompanies melodic movement between the 5th degree and the upper tonic in the normal ‘scalar’ manner: that is.Chord V. appears to ‘break’ the ‘toneabove’ extension rule. and G7b13 is chord III. It is well known and understood that the melodic minor scale modifies the harmonic minor scale for a smoother melodic effect. All things being equal. Chord iv. and indeed it does for good reason. 14 8 .15 Despite the traditional association of the harmonic minor scale with ‘chords in the minor key’. extended to G7b9 and G7b13. to avoid the augmented second between the 6th and 7th degrees. The ‘ascending’ form preserves the raised 7th degree leading note and. The ear hears an alternative powerful structure that overrides the ‘tone-above’ extension rule. Diminished chords are symmetrically constructed from three minor 3rds. some composers and songwriters use chords derived from the jazz melodic minor scale and the Aeolian mode within the minor key context.14 One of the significant outcomes of the interaction of the melodic minor scale with minor harmony is that. Bdim. the ‘jazz melodic minor’ scale is the same ascending and descending. additionally. 15 That is. The actual scale form used is more likely to be determined by the harmony. not an extension]. The next section will discuss modal chord progression and chord progression within a key. Fmaj9. 9 . it is understood that it makes no difference whether the chord is Fmaj7. the scale tone 7ths are: Cmin7 Dmin7b5 Ebmaj7 Fmin7 Gmin7 Abmaj7 Bb7 The point of the discussion so far has been to clarify chord functional type within a key. For the c Aeolian mode [the natural minor]. That is. Fmaj7#11 or Fmaj13. when we begin to analyse harmony and we say ‘chord IV of C major‘.G7 Amin7b5 Bmin7b5 Note the two ‘dominant’ 7th chords and two min7b5 [half-diminished] chords. such as La Nevada Blues by Gil Evans: Gmin9 x 2 bars Gmaj7 x 2 bars Gmin9 x 2 bars Gmaj7 x 2 bars Gmin9 x 2 bars Gmaj7 x 2 bars Often. say. modal music and tonal music often intersect in such a way as to be impossible to determine when one becomes the other. To simplify. such as Herbie Hancock’s Memphis Underground [C7 throughout] and Curtis Amy’s Native Land [Gmin7 throughout]. This is not to assert that. say. Indian classical musicians do not feel the harmonic [vertical] relationships of their melodies in relation to the drone any more or less than western musicians feel the importance and musicality of melodic movement. if only to differentiate the two. and tonal music accentuates the harmonic over the melodic. a brief acknowledgement must be given to modal practice. Others don’t change the root. only the chord colour. modal music accentuates the melodic over the harmonic. modal songs may change chord by step while maintaining chord colour. Impressions by John Coltrane gives one of the simplest of examples: Dmin7 x 16 bars Ebmin7 x 8 bars Dmin7 x 8 bars 10 . Indeed.CHAPTER TWO: Chord Progression While this booklet is specifically about analysing tonal harmony. American ‘jazz improvisation theory’ typically teaches mode association: Maj7 chord = Ionian [or Lydian] Min7 chord = Dorian [or Aeolian or Phrygian] Dominant 7 chord = Mixolydian [or a range of altered scales] Min7b5 chord = Locrian Diminished = Octatonic [diminished] Augmented = Whole-tone Some songs have only one chord. not to. European music in the 14th century or to non western practices. ‘Modal music’ in this context refers to 20th century jazz or pop music. Moreover. Eb9sus. however. Milestones by Miles Davis. while non European modal music. Beginning jazz students. Bob Brookmeyer’s Hum moves the harmony in a single direction while maintaining chord colour: Gmin7/C x 8 bars Abmin7/Db x 8 bars Amin7/D x 8 bars Bbmin7/Eb x 8 bars16 Other songs move by a small leap of a 3rd. such as Herbie Hancock’s Maiden Voyage: D7sus x 4 bars F7sus x 4 bars D7sus x 4 bars F7sus x 4 bars Eb7sus x 4 bars Db7sus x 4 bars D7sus x 4 bars F7sus x 4 bars Here the melodic component is d-f-d-f-eb-db-d-f. for example: Gmin7 x 16 bars Amin7 x 16 bars Gmin7 x 8 bars Again. of Impressions is a slow three-note melody d-eb-d. The basic movement of simple melodies is step-wise movement.The skill of the professional improvising performer is to layer different sounds [scales and chords] over what is essentially a d-eb-d drone. Other songs move by step or skip. Db9sus. or drone. Sakara by Francy Boland: Dmin7 x 16 bars Gmin7b5/C x 8 bars17 16 These chords are identical to C9sus. it’s heard melodically because the chord colour does not change and therefore the chord function does not change. So. the harmony. changing chord colour but maintaining a connection through a common chord note. and other pieces from the ‘modal jazz’ repertoire show the melodic component of the harmony. while maintaining chord colour. such as Indian classical music. 11 . Eb Dorian and D Dorian. at least as a starting point. the harmonic colour is the same for each chord [thereby focusing attention on the melodic component] and the movement is step-wise: home-away-home. often known as a ‘skip’. will be instructed to use D Dorian. typically has drones that do not move. D9sus. 12 . That is.18 In the second phrase the progression descends by major 3rd. where the note ‘f’ is common throughout: Fmin7 x 4 bars Db7 x 4 bars Dmin11 x 4 bars Fmin7 x 4 bars Even more subtle is John Coltrane’s Like Sonny. The progression ascends by minor 3rd. Moreover. d-f-ab = 3-5-7 of Bb7. which begins each eightbar phrase modally and ends each phrase tonally. though some connection is maintained by the common chord note f. their roots outline the dominant of the new key. the 3rd of each min7 chord in the first and third phrases providing the link to the next min7 chord. The other notes change by step: c a f d bb g f db More complex songs include Herbie Hancock’s Cantaloupe Island.Dmin7 x 8 bars Here the change of chord colour implies a more ‘harmonic’ relationship. each 3rd of the chord becoming the 5th of the subsequent chord. Dmin7 x 2 bars Fmin7 x 2 bars Abmin7 Bb7b13 Ebmaj7 x 2 bars Amin7 x 2 bars Fmin7 x 2 bars C#min7 F#7 Bmaj7 x 2 bars Dmin7 x 2 bars Fmin7 x 2 bars Abmin7 Bb7b13 Ebmaj7 x 2 bars For modal chord succession we can make the following summary: 17 18 Gmin7b5/C is effectively the same as C7b9sus. piece of music. The words ‘strong’ and ‘weak’ are not intended to convey any positive or negative connotation. In C Major it is: Cmaj7 I Am7 vi Dm7 ii G7 V C: That is. Like Sonny]. In tonal music. Simple modal chord successions typically use minor 7th and dominant 7th chords. especially at the end of a phrase where a cadence needs to be articulated. or movement by step or skip while maintaining a common chord note [see Sakara. any chord may be followed by any other chord in the same key in order to ‘connect’. forward moving direction based on the notion of ‘harmonic resolution’. Native Land]. Convention dictates that there are ‘strong’ progressions and ‘weak’ progressions. However. or simply no chord change at all [see Memphis Underground. Extension of triads to the 7th and beyond does not significantly change the relative strength or weakness of a particular progression. in tonal music we speak of ‘chord progression’. Connection between chords is established melodically through movement by step or skip while maintaining chord colour [see Impressions. most importantly. In the average. a weak progression is where more than half the notes of the triad are in common [root movement by 3rds]. movement by 2nds may become weak after two or more chords are heard in succession because the melodic component is heard more strongly than the harmonic. And this is where tonal music differs from modal: in modal music we speak of ‘chord succession’. conventional. or maintenance of the root and a change of chord colour only [see La Nevada Blues]. Hum. Strong means ‘a significant harmonic change’ and weak means ‘an insignificant harmonic change’. and. contrast. A preponderance of strong progressions is typically used in rousing music.1. 20 19 13 .20 In triadic harmony. Maiden Voyage]. weak progressions are typically used in ambient and gentle music. Strong progressions are used across the bar line. root movement by 4ths or 2nds]. strong or weak progressions are used within the bar where there are two chords per bar [or the equivalent durational unit of change where there is one chord per bar or less]. tonal music that does not change key. 2. Cantaloupe Island. strong progressions [within a key] are where less than half the notes are in common [that is. Most conventional music is a combination of strong and weak progressions. Non-modulating tonal music19 uses chords within a key to provide movement. these are associated with Dorian and Mixolydian modes respectively. The common chord progression I-vi-ii-V shows some of these characteristics. For example: Cmaj7 C: I Cm: Or: Cmin/maj7 C: Cm: i Am7 vi Dm7b5 ii G9 V Abmaj7 VI Dm7 ii G7b9 V The following chapter begins to address the purpose of this booklet.21 The descriptive method of analysis shown above. This is the system that will be used in this booklet.With regard to the triadic component of the progression above. with the key identified on the left and the degree of the chord shown under the chord symbol on the relevant line. The same principles apply if the key is minor: Cmin/maj7 Cm: i Abmaj7 VI Dm7b5 ii G7b9 V Chord progressions may be part tonal and part modal [see Like Sonny]. that is. the principles of modulating harmony. Convention has allowed that equivalent degree chords from the minor can be inserted into major progressions [and vice versa]. Principles of Harmonic Analysis. they can be part major and part minor. 21 14 . is an extension of the system used by Walter Piston. from C to Am the common notes are c-e and the progression is weak. From Am to Dm the different notes are d-f and the progression is strong. See Walter Piston. Boston: Schirmer. 1933. Additionally. From Dm to G the different notes are g-b and the progression is strong. CHAPTER THREE: Principles of Modulation The following chapter introduces the basics of tonal harmony within the modulatory context. 1971. chord I.23 The only way to indisputably identify whether the key is major or minor [without looking at the context] is if the dominant chord is extended to the 9th. 25 The tritone is an interval of three tones. This material was not published separately and was withdrawn from circulation in 1984. trance music. so it provides a convenient marker. That is. that is. Moreover. The traditional resolution of this dissonance is to move both c. the context of Dm7b5-G7 would suggest the minor key for G7. chord V has evolved a compelling relationship with chord I. However. Cmaj7 could be chord I in C. G7 holds the characteristic dissonance of the ‘tritone’25 from b-f. G9 specifies C major [since it includes an a-natural] and G7b9 specifies c minor [since it includes an a-flat]. 17 and 18 of The Berklee Correspondence Course. establishing a range of contrasting keys throughout a piece of music] therefore revolve around the use of chord V. In the key of C. 24 By contrast. This is typical of meditative music. 26 This applies equally to the minor chord c-eb. but it may also be chord IV in G and chord VI in e minor: only context can clarify. make it much less useful as a marker. The principles of modulatory harmony [that is.24 The relationship is one of ‘resolution’ of the ‘dissonance’. Key is not defined by chord I since the same chord colour is present for both chord I and chord IV. f e. 22 15 . the same dominant 7th chord is chord V in both the major and the parallel minor key: G7 is chord V for both C major and c minor. the simplified 20th century system of chord progression and modulation. musicians would normally expect to extend the chord to G7b9 in performance in this context. chord vii is rarely used in the major key. 23 There is only one minor7b5 in a key too. Moreover. This chapter and subsequent chapters are based on.22 Of fundamental importance is the ability to identify the key at any point in the music. There is only one dominant 7th chord in a key. Key is defined by chord V. the material contained in lessons 16. The resultant chord c-e is notes by step in contrary motion: b 26 C. but its changing function. chord vii in the major and chord ii in the minor. and some sacred music and dance music. which serves to articulate time by implying a forward moving development through time. Boston: Berklee Press. a feature of modal music is to ‘suspend’ time by experiencing the moment rather than the context of the moment in time. and are an amplification of. However. in the absence of a specified 9th. the ‘complete’ chord progression may be seen originally to be D7-G-G7-C. To acknowledge the achievement of the ‘target’ key I will figure the analysis as below: D7 C: G: V G7 V [I] C I The acknowledgement of chord I in G is in brackets because G7 is not really chord I in the key of G. has been achieved by G7 acting in place of G. E7 C: G: D: A: V A7 D7 V [I] G7 V [I] V [I] Principle 3: Any V may be preceded by chord ii in the same key. an ellipsis is where a clarificatory word may be omitted when it would be tedious to include it. the arrival to chord I in the new key of G was assumed before the chord colour change to G7. [This may or may not be across the bar line. However. In the key of C: G7 V C I C: Principle 2: Any chord V may be preceded by the V of V. and was therefore able to be left out without compromising the listener’s sense of connection. and incidentally the 1st principle above. Over time. the target.27 This usually occurs over the bar line. In language. In the key of C: Dm7 ii G7 V C I C: These principles apply equally to major and minor keys.] In the key of C: D7 C: G: V G7 V C I Principle 2 is the result of an ‘ellipsis’. 28 27 16 . This usually occurs within the bar.28 That is. The principle may be extended further [see the song Sweet Georgia Brown by Ben Bennie and Maceo Pinkard].Principle 1: Any chord I may be preceded by chord V in the same key. the exact target chord is often omitted for the same reason. An ‘ellipsis’ is where there is an omission that would complete or clarify the construction. In music. is in a major key. This usually occurs across the bar line.Also: Am7 C: G: ii D7 V G7 V [I] C I A ‘delayed resolution’ is also common: Am7 C: G: ii D7 V Dm7 ii G7 V [I] C I Therefore we may have: Bm7 C: G: D: A: ii E7 Em7 A7 Am7 ii ii V V [I] D7 V [I] Dm7 ii G7 V [I] Principle 4: Any chord ii may be preceded by chord V of ii. This principle may be extended as follows: G#m7 C#7 C: Dm: D: Em: E: F#m: V F#: ii F#m7 B7 Em7 A7 V V ii [i] ii [i] Dm7 ii [i] G7 V Because chord ii. which accounts for the extra key lines. In the key of C: A7 C: Dm: V Dm7 ii [i] G7 V C I Here V of ii may be usefully defined as being in a minor key [since ii is a minor chord and the most natural chord extension of chord V for the performing musician would be A7b9]. and the dominant 7th is looking forward to a resolution to the minor key. as a minor 7th. 17 . the key of the first half of each bar above is major and the key of the second half of each bar is minor. Principle 5 is the final principle: Anything may follow chord I. Example 3.2: Abm7 Db7 C: Dm: D: Em: E: Gbm: Gb: ii F#m7 B7 Em7 A7 V V V ii [i] ii [i] Dm7 ii [i] G7 V C I Example 3. is similar to the modal harmony principles. in a sense. This principle.3: F#m7 B7 C: Dm: D: A: E: Bm7 E7 Em7 A7 V ii ii ii V V [I] [I] Dm7 ii [i] G7 V C I Example 3. we can go off in any direction. The following eight examples show the above principles in action. Once we’re ‘home’.1: Bm7 C: G: D: A: ii E7 Em7 A7 Am7 ii ii V V [I] D7 V [I] Dm7 ii G7 V [I] C I Example 3.4: F#m7 B7 C: G: Am: A: E: Bm7 E7 Am7 ii [i] D7 V Dm7 ii G7 V [I] C I V ii ii V [I] 18 . Example 3.8: C#m7 F#7 C: Dm: D: Em: E: B F#m7 B7 Em7 A7 V V ii ii V [I] ii [i] Dm7 ii [i] G7 V C I 19 .5: F#m7 B7 C: G: D: Em: E: Em7 A7 Am7 ii V ii ii [i] V D7 V [I] Dm7 ii G7 V [I] C I Example 3.6: C#m7 F#7 C: G: Am: A: Bm: B Bm7 E7 Am7 ii [i] D7 V Dm7 ii G7 V [I] C I V V ii ii [i] Example 3.7: C#m7 F#7 C: Dm: D: A: Bm: B: Bm7 E7 Em7 A7 V ii V ii ii [i] V [I] Dm7 ii [i] G7 V C I Example 3. In terms of the principles discussed in the previous chapter. because of their ambiguity. From chapter 1. diminished chords are the only chords that may be ‘spelt’ any way. Indeed. which is why it is heard as a version [or ‘substitute’] of chord V. V7b9. principle 1 from the previous chapter may appear as: Bdim C: Cm: vii Or: Ddim C: Cm: vii C I C I Note that. b-f. to be exact. Additionally. There is. or. It will be noticed that this chord has the characteristic tritone of the dominant 7th chord. In the key of c minor. a problem: Bdim = Ddim = Fdim = Abdim. if the note ‘g’ is played under Bdim we have G7b9: g-b-d-f-ab. To do so. the name of the diminished chord often is not the root of the diminished chord. we need to understand the application of the diminished chord in popular music. the notes of all these chords are identical [because the diminished chord is a stack of minor 3rds] and the chord symbol used is normally chosen with reference to the desired bass note rather than with reference to the root. because the 7th of the scale [the ‘leading note’] is normally an undesirable bass note. chord vii in the minor key behaves in the same way as chord V. chord vii would be Bdim: b-d-f-ab. we know that the diminished chord is chord vii in the minor key. just like chord V. The diminished chord has a dominant function. Thus. 29 20 . however.CHAPTER FOUR: Diminished Chords and Patterns The following chapter applies the basic principles from the previous chapter to typical progressions found in numerous popular songs.29 That is. D7b9: d-f#-a-c-eb. that the analysis is always the same. Pattern 1 we have seen before in chapter 2. Some of the following chord patterns use diminished chords in the manner shown above. and is found in innumerable songs: Cmaj7 I Am7 vi Dm7 ii G7 V C: Pattern 2 is based on principle 2. however. 21 .Or: Fdim C: Cm: vii Or: Abdim C: Cm: vii C I C I Note. chord vii of c minor. the ‘V of V’ principle: D7 C: G: V Dm7 ii G7 V [I] C I Pattern 3 is similar to pattern 2 but uses the diminished chord instead: Ebdim C: Gm: vii Dm7 ii G7 V [i] C I Ebdim [eb-f#-a-c] is identical to F#dim [f#-a-c-eb]. . because each diminished chord is acting as Bdim [a substitute of G7b9]. which is vii of g minor and a substitute for chord V of g minor. Ebdim is chosen as the chord symbol to facilitate the bass movement by step: ebd. Pattern 4 is based on principle 4. Pattern 6 is unique in that the final key of C is established by context and not by chord V: C I C7 F IV I Fm6 iv V C I C: Cm: F: The pattern is a decoration of C-F-C [I-IV-I] in the key of C. for example. 22 . and the chord of F is in two keys at once—called a ‘pivot’ chord. These kinds of borrowings are easy to understand. If one was singing. C7 may follow C because of principle 5: anything may follow chord I. C7-F is a modulation to the key of F. the ‘V of ii’ principle: A7b9 C: Dm: V Dm7 ii [i] G7 V C I Pattern 5 is similar to pattern 4 but uses the diminished chord instead: C I C#dim vii Dm7 ii [i] G7 V C I C: Dm: In this case bass note of the diminished chord and the root note are the same. C#dim [c#-e-g-bb] is a substitute for A7b9: a-c#-e-g-bb. IV-I is decorated by the insertion of iv borrowed from the parallel minor key. an ‘a’ from the F chord and resolving it to a ‘g’ from the C chord. the ‘ab’ [forming the Fm chord] would simply become a chromatic approach note to ‘g’. The chord progressions are taken directly from Berklee lesson 17. which are left un-analysed in the original text.1: C C: I Cm: F: C7 F IV I Fm6 iv V C: Cm: Dm: C I A7 Dm7 ii [i] G7 V C I Fm6 iv C I V The first four bars are pattern 6. bars 5 and 6 are pattern 4. The list of keys down the left hand side of each analysis does not follow a prescribed order: I have simply attempted to group things together. Example 5. as are bars 5-7. bars 2-4 are pattern 4.CHAPTER FIVE: Seven Analytical Examples The following chapter applies the basic patterns from the previous chapter to simple song chord progressions and provides analyses for them. Example 5.30 Each example is eight bars long.2: Gm7 ii C7 V F I D7b9 V Gm7 ii [i] C7 V F I F: Gm: Am7 F: Fm: Gm: G: ii D7b9 Gm7 ii [i] C7 V F I Bbm6 iv F I V Bars 1-2 are a ii-V-I in F. and bars 7 and 8 are derived from pattern 6. bars 7-8 are derived from pattern 6. 30 23 . bars 3-4 are pattern 3.5: Bb I Gm7 vi Cm7 ii F7 V Bb I Dbdim vii Cm7 ii F7 V [i] Bb: Fm: Bb Bb: I Bbm: Eb: Bb7 Eb IV I Ebm6 iv Bb I Ebm6 iv Bb I V Bars 1-3 are pattern 1.3: G G: I Gm: C: Am: Abdim Am7 ii D7 V G I G7 C IV I Cm6 iv V vii [i] G G: I Dm: Bbdim vii Am7 ii D7 V [i] G I C IV G I Bars 1-3 are pattern 5 [Abdim = G#dim]. bars 5-7 are pattern 3 [Bbdim = C#dim]. 24 .4: Fm7 Ab: Ebm: Eb: ii Bb7 Bbm7 Eb7 ii V [I] Ab I Bdim vii V Ab: Ebm: Bbm7 ii Eb7 V [i] Ab I Db IV Ab I Bars 1-3 are pattern 2. bars 4-7 are pattern 3 [Bdim = Ddim].Example 5. Example 5. Example 5. bars 7-8 are simply a I-IV-I decoration in the key of G. bars 5-7 are pattern 6 and bars 7-8 are derived from pattern 6. bars 3-5 are pattern 6. 7: Eb Eb: I F: G: Am7 D7 G Gm7 ii ii V I C7 V F Eb: F: I Fm7 ii Bb7 V Eb I Ab IV Eb I Example 7 is a series of ii-V-I progressions in the keys of G-F-Eb. Example 5. 25 . bars 6-7 are a variation of pattern 4. bars 7-8 are pattern 2. bars 4-6 are pattern 6.Example 5.6: D D: I G: Em: E: F#m7 B7 Em7 ii [i] A7 V D I D7 V V ii G D: IV Dm: G: I A: Em: Gm6 iv D I B7b9 E7 A7 V D I V V [i] [I] Bars 2-4 are pattern 4. Chord iii is never used for chord I at the end of a piece of music. Chapter 1 in this booklet confirmed that chord I may extend to the major 9th. These substitutes do not change the principles of chord progression established in chapter 3. that the listener will easily allow the upper part of Cma9 [that is. different chords are given the same harmonic function. I have included an acknowledgement of Emin7 as a substitute of chord I in C [in brackets] in order to fulfil principle 1 in chapter 3. The first substitute we may call the ‘iii for I substitute’. Thus: Dm7 C: ii Dm: G7 V Em7b5 A7b9 [iii][I] ii V Dm7 ii [i] G7 V C I 26 . Emin7 is simultaneously chord iii in C and chord ii in D. the notes c-e-g-b-d.CHAPTER SIX: Substitute Chords The following chapter introduces basic substitute chords. Here is another example: Ab Ab: I Bbm: Bb: Adim vii Bbm7 Eb7 ii V [i] Cm7 F7b9 iii [I] V ii Bbm7 Eb7 ii V [i] Ab I With time and familiarity chord iii has also altered to include the minor form. it is used as a pivot chord to move the progression into another key. therefore. Dm7 ii G7 V Em7 A7b9 iii [I] V ii Dm7 ii [i] G7 V C I C: Dm: D: Here. The overlap is so substantial. chord iii may substitute for chord I. That is. Emin7] to stand for Cmaj9 itself. Em7 may substitute for Cmaj7. Typically. Cmaj9 has. Emin7 has the notes e-gb-d. and not surprising since chords are built in 3rds. Instead. In the key of C. the c minor chord: d eb. but not unusual. 31 27 . The notes in Fm6 are f-ab-c-d.With further familiarity an ellipsis [from Em7-E7] has become common.32 Changing G7 to Db7 in Pattern 2 [chapter 4] gives the following analysis: D7 C: Cm: Gb G: V Dbm: [V] Dm7 ii Db7 [V] V [i] C I It should be acknowledged that the Bb7 tritone can resolve by step in contrary motion to part of the C chord.31 The third common substitute is known as the ‘tritone substitute’. the same tritone ‘b-f’. an extension of Db7 to Db13 with G7 would give G7b9#9#11b13. or. Note also that Bb7 occurs as chord VII in the Aeolian mode [see chapter 1]. 32 An extension of Db7 to Db9 with G7 would give G7b9#11b13. it does not require resolution to a target because it is functioning as chord iv. enharmonically. because it is a substitute for iv. these chords are close enough for the listener to accept. Indeed. Here is pattern 6 [from chapter 4] with the substitute: C I C7 F IV I V Bb7 [iv] V C I C: Cm: F: Eb: While Bb7 is ‘literally’ in the key of Eb. where chord iii has become chromatically altered to a dominant form: Dm7 C: ii Am: G: G7 V E7b9 [iii][I] V Am7 [i] ii D7 Dm7 ii G7 V [I] C I V The second common substitute may be called the ‘bVII7 for iv substitute’. Db7 substitutes for G7. chord. in the key of C. It will be observed that G7 [g-b-d-f] and Db7 [db-f-ab-cb] have. superimposing Db7 on G7 would give the chord G7b9#11. ab g. This is where. in the analysis. a colourful. that is. Since the tritone is the ‘operative’ part of the dominant chord. Bb7 for Fm6. We are familiar with chord iv as the second last chord from pattern 6. Like the ‘iii for I substitute’. The notes in Bb9 [extended from Bb7] are bb-d-f-ab-c. more properly. something I will discuss later. is identified in brackets. Classical musicians will recognise this as being the ‘interrupted cadence’. in the key of C. which. one chord may substitute for the other. 33 D7 loses its target of G major. which is a chromatic approach note to ‘c’: Db7/G = G7b9b5. they are the product of an ellipsis of the voice-leading of the C. which is why [i] is in brackets. Instead. In the progression G9 voice-leading may be as follows: d-d#-e [to account for the b13 or #5]. though not functionally. 33 28 . To summarise. though the net effect is ‘minor-ish’. the result is: Eb7 C: Cm: Gb Dm: [V] Ab: V Dm7 ii Db7 [V] V [i] C I Tritone substitutes are essentially altered dominants and are not really in a minor key at all. Db7 is identified as substituting for V of c minor rather than C major. a#-b-c [#9].Db7 is literally. it is also a substitute for V of c minor. it is also a substitute for V of db minor. in Gb: hence V of Gb without the ‘target’ resolution specified on that line. which is why [V] is in brackets. and the target for V of db minor. d-db-c [to account for the #11 or b5]. being associated with the Phrygian mode. instead becoming a substitute for Ab7. which is why [V] is in brackets. Db7 is literally V of Gb major. since Db7 includes the note ‘ab’ [the b9 in G7] and also a ‘db’. If both dominant chords are substituted. the dominant 9th resolving to the tonic though chromatic appoggiature. the analysis becomes a little simpler: Ab7 C: Cm: Gb Db: V Dm7 ii Db7 [V] V [I] C I With a tritone substitute for G7. a-ab-g [b9]. This also gives the chord a more minor colour. D7 is literally V of G. pattern 4 [from chapter 4] would appear: A7b9 C: Cm: Gb Dm: V Dm7 ii Db7 [V] V [i] C I When both dominant 7ths are substituted. V of db minor. Pattern 2 may look like this: D7 C: Cm: Gb G: V Dbm: [V] Abm7 Db7 [V] V [i] C I ii Note that Abm7 is not a substitute for Dm7. when the dominant 7th chords change. application of the ‘ii-V principle’ [principle 3 from chapter 3] can result in further variation.1: C I Gb7 F IV Bb7 [iv] V I [V] V C: Cm: Eb: F: Fm: Cb: C: Cm: Gb: Eb: Dm: Ab: C I Eb7 Dm7 ii Db7 [V] V C I Bb7 [iv] V C I [V] V [i] 29 . At first sight pattern 4 may also begin to look different: A7b9 C: Cm: Gb Abm: [V] Dm: V Abm7 Db7 [V] V C I ii [i] While A7b9 changes to being a substitute for Eb7. the functional analysis is essentially the same. Example 6. Here are the seven analytical examples from chapter 5 with some of the above substitutions added. It is an alternative ii-V progression.However. Example 6. is now acting as a Gdim [vii of ab minor].3: G G: I Gm: Bb: Db: C: Cm: Gb: Am: Abdim Am7 ii Ab7 [V] V I [V] V vii [i] G I Db7 C IV F7 [iv] V G G: I Gm: Db: Abm: Bbdim Am7 ii Ab7 [V] V [i] G I C IV G I vii Note that the Bbdim.2: Gm7 ii C7 V Am7 Ab7 iii [I] Gm7 ii Gb7 [V] V [V] ii V [i] F I F: Fm: Cb: Gm: G: Db: Am7 F: Fm: Cb: Fm: Ab: Gm: Db: G: ii Ab7 Gm7 ii Gb7 [V] V F I Eb7 F I [iv] V [V] V [i] Example 6. 30 . which was acting as a C#dim [vii of d minor]. 31 . which was acting as Edim [vii of f minor].4: Fm7 Ab: Abm: D: Ebm: Eb: ii A: Am: E7 Bbm7 A7 ii [V] V Ab I Bdim [V] V [I] vii Bbm7 Ab: ii Abm: D: Am: A7 [V] V [i] Ab I Db IV Ab I Bdim.5: Bb Bb: I Bbm: E: Bm: Gm7 vi Cm7 ii F7 V Dm7 Dbdim iii [I] Cm7 ii B7 [V] V [i] vii Bb: Bbm: Db: Eb: Ebm: B: Bb I E7 Eb IV Ab7 [iv] V Bb I Ab7 [iv] V Bb I I [V] V Dbdim.Example 6. which was acting as a Ddim [vii of eb minor]. is now acting as an A#dim [vii of b minor]. Example 6. is now acting as a G#dim [vii of a minor]. 6: D I F#m7 F7 Em7 ii Eb7 [V] V [V] [V] ii V [i] D I Ab7 D: Dm: Ab: Gm: Em: E: Bb: G D: IV Dm: F: Ab: G: I Ebm: A: Em: Bb: C7 [iv] V D I F7 E7 Eb7 [V] V D I [V] V [V] V [i] [i] Example 6.7: Eb Eb: I F: Fm: Cb: G: Gm: Db: Am7 Ab7 G Gm7 ii [V] V ii [V] V I Gb7 F Eb: Ebm: A: F: I Fm7 ii E7 [V] V Eb I Ab IV Eb I 32 .Example 6. Plagal cadences are IV-I: F IV C I C: 33 . and typical substitute chords used at cadence points. Classical musicians recognise four basic cadences: Perfect: Plagal: Interrupted: Imperfect: V I IV I V vi anything V Contemporary popular music employs the same cadences. and therefore more predictable. incorporating substitute chords as well.CHAPTER SEVEN: Cadences The following chapter discusses cadences. Additionally. Perfect cadences take the two forms already discussed: G7 V And: Db7 C: Cm: [V] Gb: V C I C I C: Extension of the ‘iii for I substitute’ would allow the following. though it is not common: Bm7b5 vii C I C: Bm7b5 [b-d-f-a] and G9 [g-b-d-f-a] have the same tritone and are close enough to have the same function. more distant substitutes are often used. Cadences are the formulaic chord progressions used to end harmonic phrases. because cadences are formulaic. which would not necessarily be common within normal harmonic progressions. B7 is the tritone substitute for F7.They can also be a substitute of IV-I. including the one already discussed: Bb7 C: Cm: [iv] Eb: V C I The operative note in the plagal minor cadence is ‘ab’. but can’t be an interrupted cadence because it ends on chord I. it’s a kind of interrupted cadence in e minor [V-VI]: it’s familiar. which is a fundamental component of the plagal cadence. A much less obvious substitute for the plagal cadence is: B7 [IV] V C I C: E: There are a few reasons why this seems to work. so the following becomes possible: Abmaj7 C: Cm: VI [iv] C I Abmaj7 [ab-c-eb-g] may be heard as the upper part of Fm9 [f-ab-c-eb-g]. which is chord IV in the blues. Firstly. Therefore: Dm7 ii C I C: Dm7 [d-f-a-c] has the same notes as F6 [f-a-c-d]. Secondly. Thirdly and finally. Indeed. The plagal minor cadence is the one familiar from pattern 6: Fm6 C: Cm: iv C I It generates an interesting number of substitute versions. the B7 contains the note ‘a’. this relationship is the same as the ‘iii for I substitute’. 34 . or V iii [G7 Em7]. V for iii is not a substitute: G7/E does not equal Em9. that Em7 may not extend to Em9 in this context and stay in key: Em9/C = Cmaj7#11. which would be chord I. or G7 Abmaj7 in the minor key]. as previously discussed. nor is Em7b9 a conventional extension. Fmaj7/D = Dm9. That is. Am9/F = Fmaj7#11. The first example typically ends phrases. The interrupted cadence [or ‘deceptive’ as some say] may be interpreted in the contemporary context as V ‘substitute for I’. I for vi: Cmaj7/A = Am9. Bm11b5/G = G13. and the second example is often used to modulate as shown in chapter 6. V vi [G7 Am7. In the major key. Cmaj9 = Am11. The imperfect cadence is likewise interpreted in the contemporary context as ‘anything’ ‘V or substitute for V’. Additionally. however. Further extension of the ‘iii for I’ substitute to other degrees of the scale may also be seen. Fm7 is the upper part of Dbmaj9. Dm9/F = Fmaj13. Fmaj7#11/D = Dm13. vi for IV: Am7/F = Fmaj9.The following is also seen as a variation on the above especially in a bluesy context:34 Ab7 C: Cm: [iv] Db: V Also: Dbmaj7 C: Cm: [iv] Ab: IV C I C I Here. these are: iii for I: Em7 for C. IV for ii: F for Dm7 as previously discussed. Dbmaj7 works because Cmin [c-eb-g] is the upper part of Abmaj7 [ab-c-eb-g]. 34 Blues will be discussed in more detail later. 35 . Am11 = Fmaj13 vii for V: Bm7b5/G = G9. note. Fmaj9/D = Dm11. And ii is also a substitute for IV: Dm7/F = F6. Ebmaj7#11+/C = Cmin/maj13. Ebmaj9+/C = Cmin/maj11.ii for vii is not a substitute: Dm7/B includes the note ‘c’. 35 36 . However. III may also be substituted for V: Ebmaj7+/G = G7b13 VI for iv: Abmaj7/F = Gm9. an unconventional extension for Bdim. dominant tonic. Abmaj9/F = Fm11. subdominant dominant tonic. G9/Eb = Ebmaj9#11+.35 That is. ii may be substituted for iv: Dm7b5/F = Fm6. subdominant-minor tonic. any number or combination of chords may be used as long as the functions proceed in this order. unlike the major key. Extended cadential patterns normally proceed in the order: subdominant Thus: F C: IV Cm: Fm6 iv G7 V C I subdominant-minor dominant tonic. In the minor key the ‘III for i’ substitutes are as follows. an unconventional extension for Dm7b5. an unconventional extension for Bmin7b5. iv for ii is not a substitute in the minor key: Fm7/D includes the note ‘eb’. as discussed in chapter 4: Bdim/G = G7b9. unlike the major key: Cmin/maj7/Ab includes the note ‘b’. i for VI is not a substitute. iv may also be substituted for VI: Fm7/Ab = Ab6. The possibilities are therefore: subdominant tonic. an unconventional extension for Abmaj7. V for III. ii for vii is not a substitute: Dm7b5/B includes the note ‘c’. III for i: Ebmaj7+/C = Cmin/maj9. Abmaj7#11 = Fm13. subdominant subdominant-minor dominant tonic. The classic ii-V-I is therefore subdominant dominant tonic. vii for V is the diminished chord with the dominant function. subdominant subdominant-minor tonic. subdominant-minor dominant tonic. is a substitute in the minor: G7/Eb = Ebmaj9+. The substitutes presented in this chapter may be inserted in the appropriate places for interesting effects. Even the following is possible: B7 C: [IV] Cm: Gb: Eb: E: V Bb7 [iv] V Db7 [V] V C I And therefore: D#m7b5 [IV] Dm7b5 [iv] vii Fm7b5 [V] vii C I C: Cm: Gb: Eb: E: vii 37 . and presents the ‘death of chord ii’.1 C C: I Dm: C#dim vii Dm7 ii [i] The second is similar: Example 8.2 Dm ii D#dim vii Em7 iii [i] C: Em: As is the next Example 8. There are a number of common ‘passing diminished patterns’.2 may also appear as: Example 8.3 may appear as: Example 8. The first is familiar: Example 8.4 Dm ii D#dim vii C/E I [iii] [i] C: Em: And Example 8.3 F C: IV Gm: F#dim vii G7 V [i] Example 8.5 F C: IV Gm: F#dim vii C/G I [V] [i] 38 .CHAPTER EIGHT: Passing Diminished Chords and the Death of Chord ii The following chapter discusses problems with ‘passing’ diminished chords. C/G, while literally chord I, is generally heard as V with a double appoggiatura.36 That is, the chord after C/G would normally be G or G7:37 e c g d b g The following two examples are probably heard as decorations of the first chord, whatever the ‘analysis’ may be. Example 8.6 C I Cdim vii C I [iii] [i] VI C: Em: Cdim = D#dim.38 Example 8.7 G7 C: V Bm: Gdim = A#dim. The next two examples are Example 8.4 and 8.5 backwards, with an extra resolution: Example 8.8 C/E C: I Gm: Ebdim vii Dm7 ii G7 V [i] Gdim vii G7 V [vii] [i] [VI] Example 8.9 C/G C: I Gm: Gbdim vii F IV G7 V [i] This 2nd inversion chord is familiar for its functional use as an upbeat to the cadenza in a concerto. A cadenza is essentially a decorated resolution of the appoggiature. 37 An exception to this is where the bass moves through the chord as an arpeggio, such as C-C/E-C/GC. Here C/G is heard as C. 38 Note that B7b9 C would be interpreted as a plagal cadence in the key of C, and an interrupted cadence in the key of e minor. 36 39 Sometimes the resolution is not given: Example 8.10 C/E C: I Gm: Ebdim vii Dm7 ii [V] [i] C I Example 8.11 C/G I [V] Gbdim vii F IV [V] [i] C I C: Gm: How can this be? How can ii be V, and how can IV be V? In contemporary popular and jazz music chord ii is customarily linked to chord V [see principle 3 in chapter 3] as the ii-V pattern. Chord ii has, therefore, lost its individual characteristics and is heard as a double appoggiatura into chord V: f d c a f d b g Indeed, the chord Dm7/G is G9sus. Through association, chord ii has become a version of chord V. This is also why the ‘till ready’ vamp of ii-Vii-V-ii-V, etc., is used. Functionally, the harmony hovers on the dominant. Chord IV has the same function as chord ii. Fmaj7/G is G13sus and, when resolved to G7, is heard as a triple appoggiatura.39 f e c a f d b g It should be noted that it is relatively rare for chord ii [or chord IV] to act as chord V. Typically, it occurs in standard patterns like those above, where the familiarity of the pattern is a factor. At this stage in this booklet our analyses have been simplified down to a basic level: chord-I, or not-chord-I.40 39 Fmaj7/G is famous as the ‘LA chord’ of smooth west coast music. 40 The ‘chord-I group’ includes I, iii, and vi. The ‘not-chord-I group’ includes V, ii, IV, and vii. In tonal music, ‘not-I’ moves to I, its target. This type of analysis is concerned with finding the targets, which are the real or implied keys. Pattern 1 from chapter 4 was given as Cmaj7 I Am7 vi Dm7 ii G7 V C: We can now see that this is functionally the same as two bars of chord I, followed by two bars of chord V. This is not a new idea. See, for example, Heinrich Schenker, “Vom Organischen der Sonatenform,” in Das Meisterwerk in der Musik, Vol.II, Musich: Drei Masken, 1926; trans. W.Drabkin as “On Organicism in Sonata Form,” in The Masterwork in Music, Vol.II, Cambridge University Press, 1996. 40 41 As far as can be ascertained. 41 42 . the first time the word actually appeared on a piece of sheet music was in 1912. though some people speculate that the term may be derived from the phrase ‘the blue devils’. which dates from Elizabethan times. what would have been nonwestern. the chord could be C. modal music. at least at the beginning of the phrase—a so-called ‘blue note’. Over the years blues has been incorporated into boogie-woogie and rock ‘n’ roll and has been appropriated to make ‘white blues’ and jazz. 42 See.CHAPTER NINE: Blues The following chapter briefly discusses the influence of the blues on tonal chord progressions. When attempting to accompany. if the first phrase centred around the pitch ‘e’. he treats me awful mean Oh yeah. the first phrase made a declamation. NY: Delta.41 There have been. The Making of Jazz. The second phrase was more or less a repeat of the first phrase. While the first blues records were made in the 1920s when the form was already developed. phrase. many original. my man. the term ‘blues’ was never used in any 19th century writings on black music.42 Along the way much of the original character has been lost [for example. such as call-and-answer or the slow ground beat influence from work songs. when Memphis Blues and Dallas Blues were published. he treats me awful mean You know. For example. title track of Chet Baker’s compilation album. ‘authentic’ and important characteristics of blues. blues does not ‘have’ to have a slow ground beat] whilst still being identified as ‘blues’. my man. for example. he’s the meanest man I’ve ever seen. The third phrase was an answering or ‘commenting’ phrase: ‘My man. my man. with chords. Traditionally. one can imagine that the early performers just played simple chords that seemed to fit. inflected. the second chord could be F [to make James Lincoln Collier. One of the important identifiers is that the form has three phrases. 1979. White Blues (1983) by Michael Graillier. but with a flattened melodic inflection. and continue to be.’ The second important contemporary identifier is the choice of chord for the beginning of the second. This may not be as surprising as it first sounds. It’s well known that ‘removed’ societies often maintain words or customs for longer than the ‘original’ culture. Camden CD 74321 451892. and if the second phrase inflected the pitch to ‘eb’. nowadays these phrases have been regularised into four bars each [’12bar blues’]. 43 C7 [I] V C7 C7 C7 C: F: F7 C: [IV] F: [I] Bb: V F7 C7 [I] V C7 C: F: G7 V G7 C7 [I] V C7 The result is that the dominant 7th as chord IV has come to be a particularly strong blues ‘identifier’. therefore.F7]. fully tonal and to attempt to fit it in to a tonal analysis means one has to ignore the functionality of the dominant 7th chords. This means the whole form could be harmonised by the primary triads I-IV-I-V-I. Note the passing diminished pattern in the second phrase [from example 8. Indeed. particularly in the second phrase. so the dominant chord would have been the clear choice. and not the particular chord that is used to harmonise with it. Contemporary popular music and jazz regularly ‘borrow’ this chord [or the dominant 7th on the flattened submediant—Ab7 in the key of C] in the same way as chords from the parallel minor key are ‘borrowed’.5 in chapter 8]: C7 C: [I] F: V Bb: 43 F7 [IV] V C7 [I] V Gm7 ii C7 V Note that F7 as chord IV is present in the jazz melodic minor [see chapter 1] and to analyse it as chord IV in c minor [rather than a variant of IV in C major] would therefore be possible. 43 . one only has to use it to make the song immediately sound more ‘bluesy’. the choice of harmony here has become strongly associated with a ‘bluesy’ feel in the harmonic context. While it seems that the important blues characteristic is the flattened melody note in the second phrase. The last phrase is a turnaround. or indeed Ab or Ab7 [or even Eb7]. Blues is not. The addition of 7ths to every chord reduces their harmonic function and makes the result more ‘modal’. which are also used to begin the second phrase in a number of blues songs. Even the most tonal of ‘white blues’ progressions include the ‘blue note’ in this vital position. C: F: Gm: D: Bb: V F7 [IV] [I] F#dim C7 [I] [i] A7 vii V D7 C: F: Bb: D: [I] G: V G7 V C7 [I] V F7 [IV] V C7 [I] V G7 V [I] 44 . 45 .CHAPTER TEN: Analysing Excerpts from Standards The following chapter analyses some excerpts from the ‘great American songbook’.44 Talk of the Town F F: I Fm: Ab: Bbm: Cm: Abdim Gm7 ii C7 V F I F7+ Bb IV Eb7 [iv] V V vii [i] [i] F: C: G: Dm: Ab: Ebm: A: F I E7 Eb7 D7 G7 V [I] Gm7 ii C7 V [I] [V] V [V] V [i] V [i] But Beautiful G I Abdim Am7 ii [i] Bbdim vii vii G: Bm: Am: G/B G: I [iii] D: Am: Bm: [i] Bm7b5 E7 A7 V [i] A7 V ii V Am7 G: ii Dm: D: D7 V [I] Bm7 Bbdim iii [I] vii Am7 ii D7 V [i] G I 44 These excerpts are taken from the Berklee. lesson 18 assignments. Em7 G: vi D: ii A7 V Am7 ii D7 V [I] Cynthia’s in Love Fm7: Eb: ii Ebm: Bbm: Bb7b9 V vii Eb I Fm7 ii Gm7 iii Gbdim Eb: F: Cm: Gb: Bbm: Fm7 ii Bb7 V Eb I Db7 C7 V [i] [V] V [i] Blue Room F I Abdim Gm7 ii C7 V [i] F I D7b9 V vii Gm7 ii [i] C7 V F: Gm: Cm: F: C: Fm: Ab: Bb: F I F7 Bb IV Eb7 F I G7 V Gm7 ii C7 V [I] [iv] V V I There’s No You F F: I Fm: Cb: Bbm6 iv ii F I Dbm7 Gb7 [V] V 46 . F F: I Cm: Fm: [i] Am7 iii Abdim vii Gm7 ii C7 V [i] Moonglow Eb IV Ebm6 iv V Bb I C7 Bb: Bbm: F: Cm7 Bb: ii F: Fm: Dm: F7 V [I] Bb/D Dbdim I [iii] vii Cm7 Dbdim Bb/D ii [V] I [iii] [i] vii [i] Cm7 [bar 8] = F9sus [see chapter 8]. I Understand F#m7 F7 E7 G: D: A: Em: E: ii Bb: A7 V [I] Am7 ii D7 V [I] G I Am7 ii V [V] [i] V G/B E7 G: I [iii] Am: V A: [ii] Am7 ii [i] D7 V G I 47 . 48 .Gone with the Wind Fm7 ii Bb7 V Eb I C7b9 V Fm7 ii [i] Bb7 V Eb I Eb: Fm: Am7 Eb: G: ii Am: D7 V G I E7b9 Am7 ii [i] D7 V G I V Eb: Bbm: Ebmaj9 I Gbdim vii Fm7 ii Bb7 V [i] Eb: Ebm: Gb: Fm: Gm: Eb I Bb7+ V Gm7b5 C7 [I] [iii] Fm7 ii Db7 [iv] V Bb7 V [V] ii [i] V [i] Bb7+ [bar 13] is also functioning as D7b5#5. Petaluma: Sher Music Co.45 Some of them have tricky sections. 1988. 45 49 . The New Real Book.].CHAPTER ELEVEN: Analysing Standards The following chapter analyses some standards from the ‘great American songbook’. All of Me C6 I C6 I E7 V E7 V C: A: A7 C: A: [I] Dm: V Am: A7 Dm7 Dm7 V [i] iv [i] iv E7 C: Am: V G: E7 V Am7 [i] ii Am7 [i] ii D13 C: G: V D13 V Dm7 ii G7 V [I] Beautiful Love Em7b5 Dm: ii Gm: A7#5 V Dm i D7 V Gm7 Dm: Gm: [i] F: ii C7 Fmaj7 Em7b5 A7 ii V V I These standards are taken from Chuck Sher [ed. Dm Dm: i Am: Eb: 1st time Dm Dm: i Em: 2nd time Dm Dm: i Bbm: Em: Am: Eb: Gm7 iv Bb7 [V] V A7 V [i] B7b5 V Em7b5 ii [i] A7 V B7#9 [V] V Bb7 [i] [V] V A7 V Dm i Dm i [i] Blame it on My Youth Ebmaj7 Fm7 Eb: I ii Fm: Gm7 iii Cm7 vi Fm7 ii Edim vii Fm7 ii [i] Bb7 V Eb: Fm: Ab: Fm7 ii Edim vii Fm7 ii [i] Bb7 V Gm7 Fm7 Bb7 iii [I] ii V Ebmaj7 Eb7sus Eb7 I V V Abmaj7 Bb7 Eb: IV V Ab: I Gm7 Cm7 iii [I] vi Fm7 ii Bb7 V Ebmaj7 I Dm7b5 G7 Eb: Cm: ii V F: Bb: Cm i Abmaj7 C7 VI [i] V F7 Bb7sus Bb7 V V [I] V [I] But Beautiful Gmaj7 G: I Am: Bm: Bm7b5 E7b9 ii V Am9 ii [i] C#m7b5 F#7b9 ii V 50 . The F9 in the 5th last bar has two functions: firstly it is part of a iv-I in G [see chapter 6]. it is V-I in Bb. where the G second inversion chord functions as a D chord [see chapter 4]. secondly. 51 .Gmaj7 G: I [iii] Bm: [i] Am: D: 1st time D13 G: V D: [I] Gm: Em: Bm7b5 E7sus E7 A9 A9 ii V V [i] V V Cdim Bm7 Em7 iii [I] vi [i] Am7 D9sus D7 ii V V Gmaj7 B7 [I] vii V Em7 G: Em: [i] D: ii 2nd time D7 G: V Em: Gm: Bb: A9 Am7 ii D7 V [I] V D7/C V Bm7 Em7 iii [I] vi Am7 F#m7b5 B7 Em ii vi iv ii V i F9 [iv] V Gmaj7/D E7 G: I Bb: [I] [iii] Am: V Am7 ii [i] D7 V G6 I G6 I Notes: Bars 1-5 decorate a slow I-ii-iii progression. The passing Bbm7 in bar 6 is given as Eb11 [see chapter 8]. Cm6 in bar 3 has been given as chord iv and so may move to a substitute for chord I in bar 4. the substitute dominant of E7 in the next bar [see chapter 6]. Am7 functions as chord I in F. The D7-Bbm7 progression in the last two bars requires explanation: Bbm7=Db6.Darn That Dream G6 I Bbm7 Eb7 Am7 B7b5 Em7 vi D7 Cm6 V iv Bm7b5 E7 [I] [iii] G: Gm: Ab: F: Fm: Em: Am: ii V iii [I] [iv] iv V [i] ii 1st time V Am7 G: ii Am: [i] Bb: Gm: Ab: Dm: Eb: F9 Bm7 Bbm7 iii [I] Am7 ii D7 V Bm7 Bb7 Am7 D7 iii [I] ii [V] [i] V V [iv] [i] ii [V] [V] [i] V 2nd time G6 Fm7 Bb7 G: I Eb: ii V Ebmaj7 Cm7 G: Eb: I E: Bbm: vi Fm7 ii Bb7 V Gm7 iii [I] F#m7 B7 Fm7 ii Bb7 V [i] ii V [V] Ebmaj7 Cm7 G: Eb: I vi Dbm: Ab: Dm: Repeat [A] section Gm iii [I] Am7 ii D7 V [V] Bbm7 Eb7 Am9 D13 ii [i] ii [IV] V [V] V [i] Notes: In bar 2. it may also be heard as F9. allowing Eb7 to function as chord iv in f minor [see chapter 6]. However. 52 . allowing D7 to be the dominant substitute of Ab7. there is a clear resolution to a substitute for Fmin [see chapter 7]. Ain’t I Good to You C7 Eb: C: [I] Fm: V Db: Gm: F: Bb: Ab7 G7 V [i] V [V] C7 [I] F7 Bb7 V Eb6 I G7 V [i] V [I] V [I] C7 Eb: C: [I] Fm: V Db: Gm: F: Bb: Ab: Ab7 G7 V C7 [I] F7 Bb7 V Eb6 I Eb7 [i] V [V] [i] V [I] V [I] V Ab6 Eb: Ab: I Bbm: Gm: Cm: Adim vii Eb6/Bb Eb7 I V [i] Ab6 I Adim Dm7b5 G7 vii ii [i] V C7 Eb: C: [I] Fm: V Db: Gm: F: Bb: Cm: [i] Ab7 G7 V C7 [I] F7 Bb7 V Eb6 I [i] V [V] [i] V [I] V [I] Notes: Even though C7 in the first bar is intended to invoke a bluesy sound. 53 .Gee Baby. I’m Old Fashioned F6 I Dm7 vi Gm7 ii C7 V F6 I Dm7 vi Gm7 ii C7 V F: Bb6/F F: IV [I] Dm: Fmaj7 I Em7b5 ii A7 V Dm7 F: C: ii Dm: [i] G13 V Dm7 ii G13 V Gm7 F: ii C: Cm: Gm7 ii Abdim Gm7 ii vii C7 V [I] [i] F6 F: I A: Dm7 vi Gm7 ii C7 V F6 I Dm7 vi [I] Bm7 ii E7 V Amaj7 Bm7 F: A: I ii G: Gm: C#m7 D7 iii [I] V E7 V F#dim [vi] [I] vii Gm7 ii [I] [i] C7 V F: F6 I Dm7 vi Gm7 ii C7 V F6 I Dm7 vi Gm7 ii C7 V Cm7 F: Fm: Bb: ii Dm: C: F7 [I] V Bbmaj7 Eb9#11 iv I [V] Am7 Dm7 Dm7/C Bm7b5 Bbm6 iv iii [I] [i] ii ii vii [V] F: C: Am7 Dm7 iii [I] vi vi [I] Gm7 ii C7 V F6 I 54 . but since it is an ellipsis of V-vi. Db9-F6 is a plagal minor cadence [see chapter 7]. Jersey Bounce F6 I F6 I G7 V G7 V F: C: Gm7 F: ii C: Cm: C7 V [I] F6 I Abdim Gm7 ii C13 V [i] vii F: F6 I F6 I G7 V G7 V F: Fm: C: Gb: Gm7 ii C7 V [I] F6 I Db9 [iv] V F6 I F13 F: Bb: V Ab: F13 V Eb13 [I] [ii] V Eb13 V Db13 F: Fm: Ab: [I] Gb: [ii] V Cm: Repeat [A2] section Db13 C7 V C7#5 V V [V] [i] Notes: In bars 15-16. E7-F#m7 would not be unusual as the progression V-vi. the G13 in bar 12 waits four bars for its resolution in bar 16. F#dim is acceptable in place of I. In bar 23. In bar 19.Notes: Unusually. Eb13 is taken as an ellipsis of Bbm7-Eb13 [see chapter 8]. thus 55 . in this case E7-F#dim is much less usual. Killing Me Softly with His Song Bbm7 Ab: ii Eb9 V Ab I Db IV Bbm7 Ab: ii Eb9 V Fm vi Fm vi Bbm7 Ab: ii Fm: Eb7 V Ab I C7 V Fm Ab: Fm: i Bbm7 ii iv Eb V Ab I Fm Ab: Eb: ii Bb/D V Eb V I Db IV Ab: F: Fm: Db: Ab I Db IV Gbmaj7 Gbmaj7 F I F I IV [iv] IV Notes: This song is potentially difficult because of the lack of chord extensions that ‘pin’ down the chord function. Modulations are made via pivot chords rather than through resolution of the dominant 7th. allowing Eb13 to ‘resolve’. Gbma7-F is a plagal minor cadence [see chapter7]. Lady Bird Cmaj7 C: I Cm: Eb: Cmaj7 I Fm7 iv ii Bb7 [iv] V 56 . Likewise.F13 finds its target. Db13 in bar 21 is taken to be an ellipsis of Abm7-Db13. C: Ab: Cmaj7 I Cmaj7 I Bbm7 ii Eb7 V Abmaj7 C: Ab: I G: Abmaj7 I Am7 D7 ii V C: Cm: G: Ab: Dm7 ii G7 V [I] Cmaj7 Eb7 I Abmaj7 G7#5 VI V V I 57 . The introductory chord of A Hard Day’s Night is notated with the chord symbol Gsus4/D before moving into the first chord of the song. Every chord is a dominant 7th so the progression is heard melodically as a kind of riff: I-II-IV-I. G7 G: [I] C: V D: F: A7 [ii] V C7 [IV] [I] [I] V G7 [I] V 58 . Bb. The song Yesterday contains a dominant 7th that apparently does not resolve: it accompanies the line. However D7sus=d-g-a-c. Gsus4=g-c-d. Pepper’s Lonely Hearts Club Band is strongly influenced by the blues. ‘I believe in yesterday’: Dm7 F: C: ii G7 V Bb F IV [V] I [I] In this case. C7 might be heard as a target [D9b13sus] for A7 [see Yesterday and chapter 8]. G. chord IV. and so is not ‘tonal’. Sgt. completely misses the point. C9sus [see chapter 8]. Since the note ‘a’ is not necessarily required. while perhaps being literally correct.CHAPTER TWELVE: Analysing The Beatles The following chapter analyses a couple of interesting excerpts from The Beatles songs. it recalls the chord iv substitution [see chapter 6] even without the extension to the dominant 7th. Gsus4=D7sus. Thus: Gsus4/D G: I [V] G I The first four bars include tonal and modal aspects: G G: I Gm: Bb: C IV G I F [iv] V G I Although the progression G-F-G is modal. Assigning the dominant chords as chord V in a particular key. is acting as a dominant. Here is the second verse: D7#9 D: [I] Gm: V D7#9 D7#9 D7#9 A D: V Gm: C: A G7 [IV] [i] V G7 Bm D: vi Gm: A V G IV A V D7#9 [I] V D7#9 D7#9 as chord I and G7 as chord IV are imported from the blues. 59 .Come Together is interesting because almost all the major chords extend to the dominant 7th except chord V. by focussing on the f-b tritone for example.46 The one given below is how Paul Cooper heard it: a French 6th resolving to the dominant of a minor [E7]. p. 47 Paul Cooper. Confusion may come from naming the chord on the downbeat of bar 2 as its own chord Db9 or G7b9#5. but transposed. and then [what amounts to] another to B7. Similarly. the first beat of bar 2 may be named F7b5#9. with a long appoggiatura in the first voice from g#a. bar 2 is F7b5. followed by another to G7. Mead & Co. Instead. The final chord in bar 10. Perspectives in Music Theory. 1975. NY: Dodd. The following excerpt is a piano reduction of the first eleven bars of the ‘Prelude’. which may still function as a tritone substitute for the dominant of B7. 46 Richard Wagner’s opera Tristan und Isolde was composed from 1857 to 1859 and was widely regarded as a departure from the ‘classical’ harmonic system. 60 .48 Bar 3 is clearly E7 with an appoggiatura in the first voice from a#-b. 48 A French 6th is enharmonically the same as the tritone substitute for V of V. though this is missing the point somewhat. if heard as a tritone substitute for B7. Bars 10-11 are slightly different. Bars 6-7 are identical.219.CHAPTER THIRTEEN: The ‘Tristan Chord’ Wagner’s ‘Tristan Chord’ is notorious as a subject for analysis. though. is C+.47 Cooper’s interpretation is the same as how the jazz musician would hear it. or as Fm7b5. the following will have to do: G7 followed by E7 is not unusual in jazz harmony [see chapter 7]. bars 4-5 are E [V of a minor]. Omitting the melody-only bars. 50 I hear the melody-only bars as moving from 5-to-3 of the chord [not from 3-to-1]. the interpretation would be V-of-vi [C major] to VI in c minor. the anacrusis and bar 1 are Dm [iv of a minor]. despite the chromaticism. Thus. Hearing Dm as the first chord is a back-formation. and bars 8-9 are G [V of C major]. followed by a rest. in this highly dissonant context. to the relative major. With the second phrase ending on G7. the first phrase is an imperfect cadence in the relative minor and the second phrase an imperfect cadence in the relative major. additionally.What is not happening is a clear resolution of each imperfect cadence: E7 is followed by G7. or V-of-vi to vi in C major. but E7 followed by G7 is. Why is there no resolution? Perhaps the answer is this is art music. followed by B7. If E7 was followed by Am. even resolutions to the dominant 7th. The extension of Ab to Ab7 may be understood as an ellipsis [see chapter 3]. These last two are uncontroversial as they merely prolong the previous chord. the interpretation would be V-i. where expected resolutions are delayed and larger patterns are articulated thematically over longer time scales. However. the first chord of the third phrase being C+ is uncontroversial. may be heard as ‘final’ enough to move the tonality elsewhere. 49 61 .49 However. to the dominant of the minor. with the Am being replaced by Ab as a chord ‘borrowed’ from c minor. This key relationship is so close that we should find logical progression at the chord-to chord level.50 the chordal analysis would look like this: F7b5 Am: C: Em: [V] Bbm: V Cm: Gm: Dbm: Bm: Fm: E7 V [i] [VI] [V] V V [i] [V] V [i] Ab7b5 [i] G7 V C+ iii [I] B7 V Note that the tonalities articulated are not radical: the music moves from the minor key. If E7 were followed by Ab. if the general key is taken to be a minor/C major. if compelled to retrospectively force this sophisticated music into the mindset of American jazz harmony.