![]() ![]() The chords that contain the flat 6 are often used by composer to add colour to their harmony. It is interesting to note that this chord, as well as the original C-7, contains the flat 6 (Eb) of the key of G. It looks a bit like tritone substitution but the Ab maj7 is not a dominant 7. The ‘sixth’ in the name refers to the interval C to Ab. As the diagram below shows, this is achieved by raising one note a semitone and lowering another. The idea was to add a sense of drama to an otherwise conventional cadence. Composers from the Baroque and Classical periods would sometimes re-harmonise C D G (IV V I) as Ab/C D G. I am wondering whether he was thinking of it as a Neapolitan sixth chord in this case.Įvans would have been aware of this classical music harmony theory. But other times he treats it as Abmaj7/C. Sometimes he treats the C-7 in bar 2 as though it were C-7/F or F7sus (again, backdoor cadence).Note that Evans did use #IVø in How About You, but that was as a substitution for chord I, not II. He sticks with the obvious A-7 and I think it is more musical that way. Many realbook charts have the first chord as #IVø, which Evans does not play.I’ve not shown these on my chart because they are not used in the head.įinally, I wanted to look at the opening of that D Section a bit closer: Which the bass players tend to either ignore or not notice. In his solos, Evans adds in secondary dominant passing chords in the first two bars of the A Sections: G B7alt | E-7 E7alt | A-7.Of course, B-7 sounds like Gmaj7 III is I. We saw this in the B Section of Evans’s version of How About You. The second chord of the D section is a common sub for V, it is IVm, giving the effect of a minor plagal cadence, similar to a backdoor cadence.At the end of the Slow Launcher at the end of the B Section, Evans sometimes inserts sV7/V on the main beat in the last bar, displacing V itself until later in the bar.Whereas, at the end of A2, the modulation is to the regular relative minor, E-7, using a regular V7/VI, B7.At the end of section A1, the tune modulates using the ‘backdoor’ F7 (bVII7) as a pivot chord also acting as sV7/VI but we arrive in E major, rather than E minor.There is D section, making the form ABACD (8-8-8-8-8).C section starts on relative minor but then heads to III to allows a seemingly endless sequence of pullbacks until the tonic is finally reached at the end of the D section.B section is a turnaround plus a slow launcher as expected at the halfway point. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |