Chords analysis for Wave

[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

[saponsky]

This went from Chord Analysis for Wave to Chord Essays on Wave.
Seriously, do you think about all those chords when improv? I mean, four chords in a bar would be way too much material to solo over, I bet most of the time the soloist would end up using a single scale to solo over it. Now comping is another story, it would give enough meat to the soloist to blow his mind. Anyway, nice analysis it's always interesting to see how many reharmonizations comes from a single standard.

[DonEsteban]

This went from Chord Analysis for Wave to Chord Essays on Wave.
Seriously, do you think about all those chords when improv? I mean, four chords in a bar would be way too much material to solo over, I bet most of the time the soloist would end up using a single scale to solo over it.

No I don't agree, although Wave doesn't move between different keys as much as lots of people seem to believe, single-scaling over Wave wouldn't really produce a cool result IMHO.

EDIT 2010-07-21 longish rant edited will open a new thread /EDIT

[Henry Mars]

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?

There are ways of taking this way outside but in the end isn't that what is is?

[Aristotle]

There are ways of taking this way outside but in the end isn't that what is is?

Huh? And why are you responding to the same two sentences you already addressed in post 18?

I'll repeat the simple question I asked that went unanswered.

To this:
"...which moves nicely to E dorian over the Dmaj chord."
I asked:
"The melody can emphasize E's, but that doesn't change the mode, does it?"

[Magick]

Hey guys. I'm just going to resurrect this super old thread from the dead. I was reading it and the analyses that have been offered up so far are pretty good, except for that in classical music, there is a name for the #V7 chord, and that is a German Augmented sixth chord. It precedes a dominant and is an extremely potent anticipation for such. there is a upper and lower leading tone to the root of the dominant chord, anyways just thought I'd clear that up.

It's not necessarily a standard thing to do but it can go between a ii and a V. There's that little spot right before a dominant comes up where shit can hit the fan about 5 different ways approaching the dominant, and it's always good to know what those options are for your own songs and analyses of tunes.

Also, I was going to say that if it was a B diminished in the beginning it would be a common-tone diminished chord, another classical device. I'm just getting into jazz theory more and I haven't encountered that one yet but that's a pretty jazzy-sounding classical chord change. But it isn't, it's actually a Bb diminished, in which case I think it's basically a passing chord. From D major you've got a common tone- C#. F# rises to G and D rises to E, where they remain common tones until Am7 is reached. A goes to Bb and then drops back down to A again. (idealized voice-leading)

Or, an easy way to actually see this on guitar more specifically is probably just the easiest way to play it- right around the fifth fret Dmaj7 goes to Bbo7 (root on the high E string 6th fret) then you drop down to that drop 2 or open bar chord Am7. It almost looks like the Dmaj7 is 'melting' down into the A minor diagonally. pretty neat

Love the song, jazz on guys, keep it real magical

[Magick]

Oh also, yeah I forgot to mention that staying in one particular key without coloring outside of the lines would be a foolish endeavor. I think it's definitely in D though, throughout pretty much the whole thing, but there is so much modal interchange that you have to mess around outtside of the key.

The best results I've had so far I've just blown over the whole thing in D major and minor combined into one scale. I just start and end my lines on chord tones and mess around with D,E,F,F#,G,(G#),A,Bb,B,(C),C#, and D- which is basically almost every note I just realized lol. I don't know, the only one i guess I skip all the time is the D# in this song.

A good way for folks to get started doing this is to mess around in D major but throw in minor pentatonics. Then convert the major to Bebop (which are the notes in parenthesis), and mess around with a flatted sixth every now and then. That's my idea works pretty well if I do say so. I might record a version later and illustrate what I mean.

[christianm77]

Wave's A Section is an sophisticated reharmonisation of a 12 bar blues in D. I'll put the relevant chords in bold. It's actually quite common to have the chords in a blues be major sevenths - take Blues for Alice for instance. Parker will freely swap major and dominant sounds on blues progressions.

Anyhoo:

Dmaj7 | Bbo7 | Am7 | D7 |
Gmaj7 | Gm6 | F#7 (no D) | B7 |
E7 | Bb7 A7 | Dm7 G7 | Dm7 G7 |

Study these changes and compare them to the simplest 12 bar in D.

Biggest divergences - instead of returning to I in bar we use a 'turnback' sub III7, which kicks of a cycle of fourth progression in dominant sevenths.

At end of the A we have a modal interchange into D dorian/minor - with that Dm7 G7 vamp.

So, I see this very much as:
Dmaj7 --> D7 --> Gmaj7 --> F#7 -->-->-->-->Dm

If that makes any sense - all the movement, the ii-V-I in G in bars 3-5, the G Gm in bar with the unexpected turnback F#7 instead of the standard C - all of this is standard stuff. the V chord A7 is delayed until the second half of bar 10, but a delayed V is not very unusual.

All of these can be used as subs for a standard blues for soloing etc.

The bridge features inversions of standard ii-V-I's in F and Eb

Gm C7 Fmaj7 --> Gm7/Bb C7/Bb Fmaj7/A
Fm Bb7 Ebmaj7 --> Fm/Ab Bb7/A Ebmaj7/G

Hope that helps.

EDIT: Zombie thread FFS. Oh well hope this of interest to someone somewhere.

[Hep To The Jive]

The bridge features inversions of standard ii-V-I's in F and Eb

Gm C7 Fmaj7 --> Gm7/Bb C7/Bb Fmaj7/A
Fm Bb7 Ebmaj7 --> Fm/Ab Bb7/A Ebmaj7/G

You mean Ab of course? Gm C7 Fmaj7 --> Gm7/Bb C7/Bb Fmaj7/A
Fm Bb7 Ebmaj7 --> Fm/Ab Bb7/Ab Ebmaj7/G

Those are great! I learned it the hard way, on a gig, when my bass player started to play those bass notes of inversions, I was like woah, wait, what?? And then he did the same thing on In A Sentimental Mood... I'm just too square for jazz and go the easy way, unless something like that happens. Of course, it sounds great and and adds more 'colors' to the tune!

Edit: Just looked in a fake book, so those inversions are there to begin with, I guess when I was learning this tune ages ago somehow I just ignored the bass notes all along...

[christianm77]

You mean Ab of course? Gm C7 Fmaj7 --> Gm7/Bb C7/Bb Fmaj7/A
Fm Bb7 Ebmaj7 --> Fm/Ab Bb7/Ab Ebmaj7/G

Those are great! I learned it the hard way, on a gig, when my bass player started to play those bass notes of inversions, I was like woah, wait, what?? And then he did the same thing on In A Sentimental Mood... I'm just too square for jazz and go the easy way, unless something like that happens. Of course, it sounds great and and adds more 'colors' to the tune!

Edit: Just looked in a fake book, so those inversions are there to begin with, I guess when I was learning this tune ages ago somehow I just ignored the bass notes all along...

You are correct.

And yes I love that shit for movement in fourths...

[destinytot]

Thanks. I had to have it pointed out to me, it's not obvious I don't think?

Al Jarreau's Glow is similar.

[destinytot]

Suggestion for that 2nd line of the bridge (Fm7 to Bb7): Ab(triad)/Bb to Bb7/Ab

[Papawooly]

https://books.google.co.uk/books/abo...d=OzsFAAAACAAJ




I Highly recommend this book for Jobim Solo Guitar... all arrangements are in original released key from Jobim
so you will have to work a bit to transpose "Amor em Paz" to sound like Wes etc...

[Ron Stern]

Here is my take on the Bdim7 in measure 2. I have no particular expertise but I find this analysis to be much simpler and more practical.


1. The song is in D. ii = Em.


2. Add 6 -> Em6 = iim6


3. Then add b5 -> Em6b5 = iim6b5 = Edim7.


4. Bbdim7 -- the chord commonly specified -- equals Edim7/B.

5. For purposes of harmonic analysis, it's easier to think of Bdim7 as Edim7 or Em6b5 if you prefer. Then it's just a modified ii in the key of D. Relates directly to the tonic chord.


6. Therefore you can use all your ii-V-in-D stuff that doesn't clash with the b5 in Em6b5. Except for the b5, you're not leaving the key of D.


7. iidim7 can also be a sub for V7 but I leave it to you all to develop the possibilities of that.

I've only been working on this wrinkle for a couple of days, so kindly point out any errors you see.

[christianm77]

Bbo7 Am7 D7 Gmaj7

If we take Gmaj7 as temporary tonic, Bbo7 = bIIIdim7

biiio7 very common in
- Pre war jazz
- Jobim tunes

How you play over these things is up to you. A lot of players ignore them or sub biiio7 for a biiim7, something like this:

Bbm7 Am7 D7 Gmaj7 on the whole progression

Myself, I really like F# triad on Bbo7. I like

F#/Bb G/A B/D Bm/G

Other well known tunes with a biiio7

Out of Nowhere
Body and Soul
Night and Day
Corcovado
Insenatez
Pennies from Heaven
Embraceable You
Darn That Dream (original changes - Bbo7 often subbed for Bbm7 Eb7)
Just Friends (ditto!)
Stella by Starlight (first chord Dbo7 usually subbed Em7b5 A7b9)
and so on and so forth

Get used to them ;-) Also that tune list will give you some idea of how they can be subbed.

[DonEsteban]

It's the melody! Just take the chord literally and play a symmetric thing over it.

WT/HT would be the scale of the day, the melody is made of it!

[rpjazzguitar]

Wave is a 12 bar blues, nicely reharmonized, with a bridge.

The first chord is usually Dmaj7. The second chord follows the melody at that point, G Bb Db E. Dim7? 7b9?

I usually play Eb9 (since I hear it as a half step up), but if forced to think (like now) I end up thinking of it as a V7b9 in D, that is A7b9. And, my Eb9 is a tritone for A7.

So, it's Dmaj A7 Dmaj D7 G -- grossly oversimplified.

The Gmaj7 strikes me as a IV chord in the 12 bar blues, so I don't think of the song as going into G tonal center by the second chord, although I guess you could.

[christianm77]

Tinkled around I like playing A7b9 --> D7 --> G best over Bbo7 Am7 D7 Gmaj7 - simple enough progression...

But a really nice thing to key into is the line A-Bb-B

So, we could have
D6/9 Bbo7 Am9 D13b9 Gmaj7

As a set of voicings to play here. If you have a good comp to play through the tune, you also have a good line.

It's that line that moves chromatically, so if you want to get good at being a bit zen and get good at playing the harmony with minimal notes, it's good to take note of the notes that move chromatically through the song, and build lines based on that.
Anyway, it's easy to make a meal of things like this. Ask yourself, what would Getz do? Play a melody, and paraphrase the tune... That seems true to the spirit of this music, rather than getting too theory minded.

[DonEsteban]

Oh, and another addition to my post above: For me the note G is something like a pivoting point, I don't consider the whole bar as Bb diminished but only the first two beats. Despite the fact that the G and F# (and A too) technically fit in the Bb wt/ht, something turns there for my ears.

So what I hear and consequently play is more like this:

[christianm77]

Oh, and another addition to my post above: For me the note G is something like a pivoting point, I don't consider the whole bar as Bb diminished but only the first two beats. Despite the fact that the G and F# (and A too) technically fit in the Bb wt/ht, something turns there for my ears.

So what I hear and consequently play is more like this:

I'd definitely agree, it's Bbo7 moving to an Am7 sound in the second half of the bar - both chords exist within the dim scale, but the dim scale has a more 'outside' sound which might work for some contexts, but Wave is a sort of happy go lucky thing...

I posted my alternative scales - D harmonic major and B harmonic minor, and then played them and realised I didn't like them lol.

I think in this case doing something simple is probably best... if you don't want the dim7 arp sound, just playing the Bb will give you the flavour of that chord.

[eh6794-2.0]

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.

Black cat

Everybody is worried about the harmony and which notes you can play. I didn't read one comment from anybody about the most important part of his playing: the swing (or soul, or heart and soul, or whatever you want to call it).

You can get all of the same notes, but you'll PROBABLY never sound sound as good as him.

[jameslovestal]

Everybody is worried about the harmony and which notes you can play. I didn't read one comment from anybody about the most important part of his playing: the swing (or soul, or heart and soul, or whatever you want to call it).

You can get all of the same notes, but you'll PROBABLY never sound sound as good as him.

Clearly the reason many of us amateurs don't focus on "the most important part" because we know we WILL never sound as good as him.

So instead we focus on what we believe we can master. But your point is well taken and one that I try to remind myself of each time I pick up a guitar. I.e. it isn't about the notes,,,, it about the sound!

[eh6794-2.0]

Clearly the reason many of us amateurs don't focus on "the most important part" because we know we WILL never sound as good as him.

So instead we focus on what we believe we can master. But your point is well taken and one that I try to remind myself of each time I pick up a guitar. I.e. it isn't about the notes,,,, it about the sound!

You'd be surprised how many people actually can. I want to hear more really good guitarists.

[orri]

It is for the most parts V7 chords resolving down a fifth (sometimes secondary dominants, sometimes auxilary dominants), sometimes II- are put before the Vs.
I've marked in the II-Vs with brackets under them (II-V to tritone sub with yellow/orange bracket) and V7 resolving down a fifth with an arrow.

This is the gist of it, and the other "tricks" in the tune have already been covered in this thread

[christianm77]

I did a video using Wave’s A section as an example that might interest: