Four Harmonic Analysis

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Four Harmonic Analysis Powered By Docstoc
Bar 2                                                         Modulation
Chord                Ebmaj7                                   Ebmin7              Ab7
Numeral              I                                        II                  V (IV Eb major)
Base key                                                      Db Major

Bar 6                                                         Modulation
Chord                Fm7                                      Abm7                Db7
Numeral              II (Eb major)                            II                  V/bVII7
Base key                                                      Gb Major

Bar 9                                    Modulation
                                         (Shifted up a
Chord                Ebmaj7              F#min7/B7            Fmin7               Bb7
Numeral              I                   II/V                 II                  V
Base key                                 E Major

Bar 13                                   Modulation
Chord                Ebmaj7              F#min7/B7            Fmin7               Bb7
Numeral              I                   II/V                 II                  V
Base key                                 E Major

Bar 17
Chord                Gmin7/Gbmin7        Fm7/Bb7              Ebmaj7              Fm7/Bb7
Numeral              III/bIIImin7        II/V                 I                   II/V
Base key             Gb Dorian

       First motif based on repetitive 3 note riff.
       Bar 2 repeats with the same rhythm, though this time descends down to D.
       On 3rd repeat of the riff, the melody ascends to a Db note, anticipating the Ebm7 chord (Db
        being the 7th of Ebmin).

Matthew De Angelis
        Bars 4-6 are simply transposing the melody up by a fourth. Though this tiem the melody
         ends on the anticipated 7th (Gb) – 7th of Abmin.
        The tail in bar 8 prepares for the next motif using a chromatic passing note (A) to connect
         the Ab and Bb.
        Davis establishes two modulations in these first 8 bars. In the first modulation (bar 3) to Db
         Major, Davis uses the tonic interchangeably into its minor to enter the modulation (changing
         EbMaj7 to Ebm7).
        The V chord (Ab7) of the modulation is the partial diatonic IV7 chord of Eb Major and allows
         Davis to re-enter the main key at bar 5.
        The three-note riff in bar 1 outlines the EbMaj7 chord using its 5th and 7th notes (Bb and D).
        When the melody transposes up a fourth in bar 5, it seems to again outline the EbMaj7
         chord using its root and 3rd (Eb and G). However, Davis uses the active II chord (Fm7) under
         the melody, giving an added sense of momentum to the song.

Ebmaj7 is seen in the score as Gmin7

             Bar 9-12 are repeated in bars 13-16, with small changes in the melody.
             The chord progression II-V-I in Eb major are utilised in these bars.
             There is Chromatic modulation in bars 10 and 14 – this is to chords II-V if E major. These
              are chromatically lifted from the key of Eb to E. The key then falls back down to Eb at
              bars 11 and 15.
             The melody in bars 9 and 13, outline the Eb maj7 chord it is played over.
             The B natural (found as last note of bars 9 and 13), anticipates the chromatic modulation
              to E major.
             In bar 10, Davis stresses a D# and in bar 13, a B natural. These are the chord tones 3rd
              and root of B7

                        Davis is emphasising the V chord over the II chord.

             Bar 11 emphasises the chord tones of Fm7 (C and Ab) and anticipates the Bb7 chord
              with its 13th (G). This is called using an “upper partial” on a chord change.
             The rhythm at the end of bar 12 mirrors the riff used in bar 1.
             In bars 13 to 16, Davis uses the same motif as bars 9 to 12, accentuating the B natural in
              bar 14, and using an E natural to chromatically push down to the D#.

Matthew De Angelis
      The second ending melody begins on a Bb note, this resembled the first ending.
       Though in the second ending, Davis creates an ascending line within the melody. This gives
       way to the end of the song/beginning of the solos.
      The melody utilises chord tones to outline each chord the melody plays over. This is with
       exception to the Gbmin7 (due to it being a substitution).
      In the first ending Davis uses B, E and D#. This is to accentuate the B7 chord.
      Though in the second ending, Davis makes use of Cb, Fb and Eb instead to fit over the
       Gbmin7 chord. This is essentially the same melodic line – enharmonically these notes are B,
       E and D#, same as the first ending – he is therefore treating the substituted Gbmin7 chord
       with the same function as a B7 would serve.

                                Gm7 Substitution (IMPORTANT)

Chord tones      I                III              V                VII
of Ebmaj7
Ebmaj7           Eb               G                Bb               D
Chord Tones                       I                III              V                VII
of Gmin7
Gmin7                             G                Bb               D                F

In bar 17, the Gbmin7 chord is a substitution for the E major modulation in bar 14 – Gbmin7 is
enharmonically equivalent to F#min7. Here Davis again uses the II – V chords of Eb major (Fmin7 and
Bb7). He then ends the song on the I chord (Ebmaj7). This progression causes a chromatic line
between the first three chords G-Gb-F (Nice jazz sound). Davis still keeps the identity of the first
endings progression, despite the chromatic descending of chords.

Matthew De Angelis

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