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Bar 4:
Abm9 - Db13 as ii - V7 of new Key Gb major (I)...(but the resolution doesn't go to Gb as it
theoretically should ... see Bar 5 where it resolves...)
Bar 5:
Ebmaj7 (can be Gm7, vi of Eb) - Cmi7 (vi of Key Eb)*
Bar 6:
Fm7 (ii of Eb major) - Bb7 (V of Eb major)
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Bar 7: [first ending] delaying, circle-of-fifths cadence starting on III7 (G7(b5) in the original key to
VI7 to II7b5 to V7 before returning to the tonic for the second A.
NOTE: this chord should be G7b5 to C7 (Real Book has it as Gm7 C7)
G7 (III7 of Eb or V of key of C Harm. minor) - C7 (V of key of F or back-cycled from G7 ) ... or as V
of F Harm. Minor.
NOTE: Bar 7 can be treated in a number of ways ... I like to treat G7 as IV of D Harm. Minor
because it retains the #11 of G7 (C#) ... C# placed in the bass over G7 creates a smooth
descending bass line to C7 then to F7 with the #11 (B) in the bass to Bb13.
A very interesting, and very cool resolution is happening in Bars 4 & 5 : Abm7 - Db9 going to
EbMaj7 in Bar 5 (but Ebmaj7 is treated as Gm7 - which is the iii chord of Eb major: Gm7 to
Cm7 ...
The resolution of the ii - V (Abm7 - Db9) wants to resolve to I, Gb(Maj7) ... instead Garner
resolves it to Gm7 ... (too cool), he is using the 3rd and -7th degree of Gm7 (Bb and F) ...
which is the 3rd. and maj 7th of Gb maj7 - kind of like a tri-tone sub. resolution ... purely
genius.
Bar 8:
F9 (V of key of C, or IV of C minor) - Bb7 (V of Eb) ... this measure can be treated as a secondary
ii-V dominant of Eb ... instead of Fm7-Bb7 ... treat the 4Fm7 as F7 to Bb7 ... as a II-V...
Bar 9:
Ebmaj7 Eb tonic key - A section resolved -- start of next A section ... (Bar 9 acts as bar 1 of 2nd A
section ...)
Bars 10 14 [2nd A]: same as bars 1 6
Bar 15 - 16:
Eb6 : I Tonic. Establishes home key resolution for complete melodic development of A section.
Bar 16 acts as a delayed extension of the resolution, linking a melodic passage to the B section.
Its called an Interlude.
B Section (Bridge) Ab Major New Tonality [Eb modulating to Ab]
Bar 17 & 18:
Bbm7 | Bbm7 Eb7b9 :
1) ii V7 Bar 17 acts as a delayed ii of the V7 turnaround in bar 18 to the sub-dominant
key of Ab Major in bar 18.
Bar 19:
AbMaj7 I of Ab major
Bar 20:
Same as bar 19.
Bar 21:
Am7 : bii of Ab the ii V7 of Ab is Bbm7 Eb7 a half step higher than Am7 (the V7 is implied
and delayed to next measure D7). Aural experience tells our ears to expect this Am7, which is
2