Chords analysis for Wave

[S_R_S5]

Do you know the chord analysis for wave? The intro goes D-7 G7|D-7 G7 and keeps repeating. You could play C major over that.

Does anyone know the whole chords analysis for the whole song?

Thanks.

[BigDaddyLoveHandles]

I like Oscar Peterson's take on it. For a fellow with big catcher's mitts he's very restrained at the start. He only really lets loose on the ending vamp.

YouTube Video

[Black cat]

Check out Gilbert Medam on You Tube playing Wave. He plays the chords you would expect and takes a nice solo. I have heard a dozen versions and this one is true to Jobim.
YouTube - Wave, guitar by Gilbert Medam

Black cat

[DonEsteban]

Well the intro and outro is in C (or better D dorian) but not the song, which mainly remains in the key of Dmaj.

Dmaj obvious
Bb° altered dominant to Am
Am D7 Gj Gmin is a II-V-I to the subdominant with the typical maj-min on the IV
F# B7 ... and so on, dominant chain* that leads back to the root, but !surprise! in minor, same figure like in the intro.

The bridge are two II-V-I situations, first in F second in Eb (the I substituted with parallel minor, typical Jobim)

Hope this helped.

Cheers

Stefan

* F# B7 leading to E7 (forget the B-7) Bb7 = E7alt and A7 is the dominant that funnily goes to Dm instead of Dj

[randalljazz]

no Bdim in wave

[DonEsteban]

Thanks randalljazz, I corrected the typo, second cord is a Bbdim

[randalljazz]

Originally Posted by DonEsteban

Thanks randalljazz, I corrected the typo, second cord is a Bbdim

so if only a "typo", how is it an altered dominant to Am?

[DonEsteban]

You're right again, I was misled, because it sounds like a dominant, but not to Am. To my ears it sounds like a A7b9, and this could be interpreted as dominant to the D7, jumping over the not so relevant Am. Or as a suspension to Am.... well....

But basically the melody here is a Bbdim (or Gdim to be precise) arpeggio, that's why the cord is here in the first place, I think.

As I normally always avoid playing diminished arpeggios soloing over diminished cords, I mostly do it in this particular measure, because it nicely reminds me (and the audience I hope) of the melody. Halftone/wholetone would do it too of course.

[Reg]

Dma7 is I or Lyd. The Bbdim7 is a modal interchange to 7th degree of B har. Min. ( Bmin. would have been the rel. min. of Dmaj.) So the Bbdim. is a dim. chord but not symmetrical, it's the 7th degree of B har. min. The A-7 D7 is II V of new key of Gmaj. the G-6 is Modal interchange again to G Melodic Min.
F#13 is V of B7 , The F#7 alt is the sub for C7 or bII of B.( F# alt or C7#11) all from G Melodic Min. The B7 is V of E7 with B7alt.( B7alt is sub for F7#11 or bII, like sequence before) going to E7 with rel. II- or you can call ir E7sus to E7. All which is V of A7 or V of V which becomes alt. because through the magic of modal interchange the IMaj chord become I-. The Bb7#11 chord was subV of A7alt. When I have more time I'll write out chart with analysis above each chord and post PDF file. Best Reg

[randalljazz]

Originally Posted by Reg

Dma7 is I or Lyd. The Bbdim7 is a modal interchange to 7th degree of B har. Min. ( Bmin. would have been the rel. min. of Dmaj.) So the Bbdim. is a dim. chord but not symmetrical, it's the 7th degree of B har. min. The A-7 D7 is II V of new key of Gmaj. the G-6 is Modal interchange again to G Melodic Min.
F#13 is V of B7 , The F#7 alt is the sub for C7 or bII of B.( F# alt or C7#11) all from G Melodic Min. The B7 is V of E7 with B7alt.( B7alt is sub for F7#11 or bII, like sequence before) going to E7 with rel. II- or you can call ir E7sus to E7. All which is V of A7 or V of V which becomes alt. because through the magic of modal interchange the IMaj chord become I-. The Bb7#11 chord was subV of A7alt. When I have more time I'll write out chart with analysis above each chord and post PDF file. Best Reg

good analysis. i hear the Bbdim simply as an upper leading tone diminished to the Am. a more complicated way of saying the same thing is to call it a bV sub for Em, which chord would be common to the opening key of D and the soon-to-be key of the moment, G (ii and vi, respectively)--pivot chord, in classic parlance. ricigliano mentions this usage of the diminished chord in his jazz & popular harmony (revised edition, 1969), page 77.

| Dmaj | Em | Am | D7 | sounds smoother to my ears than

| Dmaj | Bm | Am | D7 | but who knows what jobim was thinking?

[Reg]

Hey Randal... yea very well could be. I haven't played tune in years. I think I use to actually play... D6/9 / C#-7b5 F#7#9 / Bmi,B-maj7,B-7,Bb13 / A-7, D7b9 /GM7, G6/9 / G-7,C13#11/ F#13sus,F#7b13/ B9sus, B7b9,F13/ B-7, B-6/ Bb13, A7b13#9/ etc... I actually hear the B-, I'll try and make PDF examples of my comping... Always the Best...Reg

[Henry Mars]

For the intro (Dm - G7) I use F lydian to G mixolydian which moves nicely to E dorian over the Dmaj chord. It is a little airy but I like it.
There are a kinds of things you can do here.

[TommyD]

Originally Posted by Black cat

Check out Gilbert Medam on You Tube playing Wave. He plays the chords you would expect and takes a nice solo. I have heard a dozen versions and this one is true to Jobim.
YouTube - Wave, guitar by Gilbert Medam

Black cat

He makes it look so easy. Wonderful! And one of the great tunes of all time!
tommy/

[Reg]

Very beautiful, old straight bossa style, almost boring...heard a billion versions just like his. I dig latin music when the standards become a little hipper harmonically and rhythmically, (usually don't have to bring up the rhythm thing), but that was like a senior citizen version. And the solo section would be nice if it did something, not a memorized version... but then I'm a jazz player. Don't get me wrong... Gilbert Medam is a wonderful Guitarist, that version of Wave was just a little like elevator music... Sorry man, I don't mean to whine, but .... well it was lovely, aspire to be more... Best Reg
PS I know... I need to post more samples, to cover...

[Aristotle]

For the intro (Dm - G7) I use F lydian to G mixolydian

which moves nicely to E dorian over the Dmaj chord.

I have trouble following this. Isn't this using a C-scale for key-of-C chords, and using the D-scale for the I chord in D.

If the bass plays a D, and comp is a D-chord, is that the Ionian mode? The melody can emphasize E's, but that doesn't change the mode, does it?

[BigDaddyLoveHandles]

Originally Posted by Aristotle

I have trouble following this. Isn't this using a C-scale for key-of-C chords, and using the D-scale for the I chord in D.

If the bass plays a D, and comp is a D-chord, is that the Ionian mode? The melody can emphasize E's, but that doesn't change the mode, does it?

Yikes, we're agreeing, Ari! In a song like this, modes just confuse me. Certainly there are simpler ways to explain things.

[BigDaddyLoveHandles]

Originally Posted by randalljazz

good analysis. i hear the Bbdim simply as an upper leading tone diminished to the Am. a more complicated way of saying the same thing is to call it a bV sub for Em, which chord would be common to the opening key of D and the soon-to-be key of the moment, G (ii and vi, respectively)--pivot chord, in classic parlance. ricigliano mentions this usage of the diminished chord in his jazz & popular harmony (revised edition, 1969), page 77.

| Dmaj | Em | Am | D7 | sounds smoother to my ears than

| Dmaj | Bm | Am | D7 | but who knows what jobim was thinking?

I agree with that. "DMaj Bm" sounds to my ear nearly the same as "DMaj" -- the Bm isn't really pulling you away from the sound of DMaj. But in the melody you have that diminished arp, which say "chord change!" to me. (Plus the arp (G-Bb-C#-E-G) plain doesn't work over Bmin for me!)

For that Bbdim7 I could also see it as A7b9, then you have the A dom to Amin progression, which is common. But then I'm converging on your Em (b5?):

| Dmaj | Em7b5 | Am | D7 |
| Dmaj | Em7b5 A7b9 | Am | D7 |
| Dmaj | A7b9| Am | D7 |

Variations of each other?

[Henry Mars]

Originally Posted by Aristotle

I have trouble following this. Isn't this using a C-scale for key-of-C chords, and using the D-scale for the I chord in D.

If the bass plays a D, and comp is a D-chord, is that the Ionian mode? The melody can emphasize E's, but that doesn't change the mode, does it?

Try it. It is just a little "outside" but it is easy to pull back in.
The E dorian scale is built from the second step of the Dmaj.

Don't think too much about it ..play it. The idea is to establish an extended line over the chords with out loosing the gentry. If you think in terms of C and D you risk loosing the idea of "skating" over the changes.
The idea is to avoid establishing root tonality until it is time to pull it together.

Don't over analyze .....yes the are derived from C and D .... avoid think scale roots.

[Aristotle]

Originally Posted by BigDaddyLoveHandles

Yikes, we're agreeing, Ari! In a song like this, modes just confuse me. Certainly there are simpler ways to explain things.

I wouldn't want your confidence to be disturbed by agreeing with me, so I'll try to be controversial.

My post had nothing to do with "simpler."

[BigDaddyLoveHandles]

Originally Posted by Aristotle

I wouldn't want your confidence to be disturbed by agreeing with me, so I'll try to be controversial.

My post had nothing to do with "simpler."

Whew! That was close! I thought I slipped into an alternate universe.

[Alzo]

Clint Strong playing "Wave".

YouTube - Clint Strong - 07 - Wave

[ronjazz]

I like the Em7b5 A7b9 thing, it works and gives plenty of relevant material for improvising, also nice bass motion if you're doing a solo version.

[Reg]

Originally Posted by randalljazz

good analysis. i hear the Bbdim simply as an upper leading tone diminished to the Am. a more complicated way of saying the same thing is to call it a bV sub for Em, which chord would be common to the opening key of D and the soon-to-be key of the moment, G (ii and vi, respectively)--pivot chord, in classic parlance. ricigliano mentions this usage of the diminished chord in his jazz & popular harmony (revised edition, 1969), page 77.

| Dmaj | Em | Am | D7 | sounds smoother to my ears than

| Dmaj | Bm | Am | D7 | but who knows what jobim was thinking?

What do you hear as the rest of the notes in the Bbdim 7 chord bar(2nd bar)
besides the G Bb C# E, and where do they come from? When I said modal interchange from 7th degree of B harmonic min.( Bbdim.7). That doesn't mean B-, it means Bbdim7,(A#dim7) from B har. min. ( A# B C# D E F# G A#), which gives harmonic source of chord and rest of notes. I'm not sure I understand the Bbdim7 being a bV sub for Em, ( either pivot version, ii or vi), maybe E7. I can see the root motion being a bV, but don't get the rest of the notes. In traditional terms... Bbdim could be leading tone dim. from B Har Min ( Rel Min) or upper leading tone dim from 7th degree of V7 chord, but it's not that functional to talk about jazz harmony with traditional or classical terms. Again what do you hear as rest of notes over the Bbdim7 chord. There are a few choices, I don't hear the modulation until the 3rd bar. I agree, who knows what Jobin was thinking, but most latin composers from that time frame were looking to jazz for sources of harmony... still are. Just as jazz composers and players were looking at latin music for sources of rhythm and forms... still are. Always the best Reg

[randalljazz]

D6/9 / C#-7b5 F#7#9 / Bmi,B-maj7,B-7,Bb13 / A-7, D7b9 /

hmmm...i like your re-harm--significant elaboration on jobim's progression (too many chords for my meager abilities--i can play four chords in a measure if it's a ballad, maybe)

simpler | Dmaj7 | Bbdim7 Bmmaj7 | Am7 | D7b9 | etc, also flows nicely...

but still, it involves an assumption. with the second measure only Bbdim7 (as written), it already sounds like it is moving out of tonic. as i said, i just call it an upper leading tone. you could 'account' for the notes (if you must) as modal interchange--D harmonic minor.

the unseen Em is the pivot--ii in D and vi in G. jazzers may not analyze in such terms very much, but pivot chords are common in jazz and popular harmony.

as for professor ricigliano's flat five sub designation..."the diminished seventh chord may sometimes be used in the place of a flat 5 dominant seventh substitute..." op cit (note: on the same root as the b5 V7). i presume this is his observation from many years of study and practice.


as for jobim borrowing jazz harmony: he was adamant that he never did so, and any influence went the other way. shrug. he was classically trained, and drew his harmonic inspiration from debussy, ravel and villa-lobos (the first two of which also fed the post-bop jazzers, which may serve to explain practices in common.

cheers

[Reg]

Hey Randal... yea Bb C# D E F G A, I can hear that... and the Bbdim7 is sub or bV of E-7b5 from classic Imaj to Imin modal interchange. Would get to that through soloing, but not what my ears hear first, I always heard Tonic to Dominant on 1st two bars, which it still is, just a few different notes. Thanks for insights on Jobin... It's interesting how simple things can be viewed, as always Best Reg

[PaulD]

YouTube Video

[flippeters]

DM7 (I) | Bb dim7 (V7 b9) | Am7 (v m7) D7 (I7) |
//// //// // //
GM7 (IV)| Gm6 (iv m6) | F#13 F#7 #5 (III 7) | B9 B7 b9 (VI7) |
//// //// // // // //
Bm7/E (V7) | Bb7 (#V7) A7 (V7) |Dm7 (im7) G7 (IV7) |Dm7 (im7) G7 (IV7) ||
//// // // // // // //

(The bridge has same changes as One Note Samba.)

[Reg]

Originally Posted by flippeters

DM7 (I) | Bb dim7 (V7 b9) | Am7 (v m7) D7 (I7) |
//// //// // //
GM7 (IV)| Gm6 (iv m6) | F#13 F#7 #5 (III 7) | B9 B7 b9 (VI7) |
//// //// // // // //
Bm7/E (V7) | Bb7 (#V7) A7 (V7) |Dm7 (im7) G7 (IV7) |Dm7 (im7) G7 (IV7) ||
//// // // // // // //

(The bridge has same changes as One Note Samba.)

Sorry man, I don't really hear Wave as a blues... and I can force most tunes into a blues. You can play blues over any Maj. chord and it's cool and you could play standard maj. and mim. blues licks to imply tonal change. I mean our ears can pretty much hear blues over anything but that doesn't make a tune a blues form. There's a difference between a blues tune and playin the blues over a tune, and I guess that reflects your analysis, how you play over the changes rather than how chords function. It's cool the only roman numeral I can't take is the #V7... would make more sense as bV7... standard blues chord. Best Reg

[fep]

I have an analysis done by my guitar teacher of yesteryear, Bill Thrasher:

[flippeters]

I just mean structurally, not in feel. 3 4-bar phrases. Now as far as what to play over the changes that's another story. :-)
Best, FP