-
I'm just starting to learn jazz guitar. This progression is: Am -> E7 -> Am -> Am -> Eb7 -> Eb7 -> Am -> D7
The first question is: is it in key of G?
And the second one is: what is the function of E7 and Eb7?
-
05-16-2018 12:07 AM
-
Looks like it would be A minor, but it is a little weird as written.
The E7 is OK but kind of simple, might hear an E(#9) x7678x there...
The Eb7 sounds off. Something that does go with Am that has an Eb on the bottom would be an F13/7 (or F13/Eb) like this x6776x as a sub for F9 x87888 or F13 x 8 7 8 8 10
-
I think you are referring to the example 3 of exercise 3. I don't have the book available right now but I did a video a while back. Example 3 starts at 1:20 of this video which should give some aural context to the question for those that are giving answers:
Both using my ear and theory this is in the key of Am. It could also be analyzed as being in G as that D13b5b9 is really pulling towards a Gmaj7.
Without seeing the vanilla chords that Mickey is 'jazzing' up... In the key of Am. The Bbm7 - Bbm6 bit is over the Eb7 (correct me if I'm wrong). I hear it going out of the key at that point. And, I see it approaching back to Am7 from 1/2 step above which creates a dominant type of function.
The Bm7 - Bm6 bit is over the E7 (again correct me if I'm wrong). That is a dominant function, the dominant chord of Am is E7, Bm7 - Bm6 is a substitution for E7.
__________________
In the key of G. The Bbm7 - Bbm6 bit is over the Eb7 Again, I hear it going out of the key at that point. And, I see it approaching back to Am7 from 1/2 step above which creates a dominant type of function.
The Bm7 - Bm6 bit for the E7 . That is a dominant function of the Am, Am in the key G is the ii chord. E7 to Am can be analyzed as a V/ii (spoken as "five of two").
-
one possible:
it’s in G and the Eb7 is derived from the biiidim (Bb) which can function to pull to the ii
-
Basically an A minor Blues I/V Eb is just a passing chord to IV D7
-
I don't think of this Eb7 as a passing chord, it sits on that chord for two full measures.
-
Augmented sixth
-
Christian, could you be a little more cryptic please? haha jk, what do you mean?
-
Augmented sixth - Wikipedia
Also beato explains
-
Thanks man. They pre-dom chords, so we just sort of lumping the Am with D7? I can dig it.
-
Just a chromatic two five is how I hear it. Check out the attached page on the triple box technique.
-
The Eb7 is.
-
Sorry what I posted was totally irelevant actually.
-
right. the Eb7 is the aug 6, which is pre dominant chord that goes to a subdominant chord in this instance. So thats why i said about needing to lump the A minor in with the D7 for that particular analysis
-
ooh! was my analysis right!?
-
The main crux of the augmented sixth chord and the voice leading that comes along with the terminology is that the #6 (b7) resolves upwards. This aug sixth concept is more of a voice leading thing then a chord function (roman numeral analysis) thing. A bVI7 chord is not really an aug 6th chord.
-
Eb7 is the tritone sub of A7, A7 is the V of D7. It's just going to the V chord.
-
OTOH Jazz musicians do not in general give a shit about enharmony...
Originally Posted by bediles
-
Originally Posted by christianm77
But I thought there were 30 keys??
-
You’d have to lump the ii chord in with the V for that analysis also, fep. you good with that?
-
If it’s good enough for Peter Bernstein and Barry Harris it’s good enough for me
-
I dunno about PB, but Barry Harris talks about going or pulling to a 2 chord. but yeah definitely screw ii chord fo soloing
-
Yes,turning a V into a ii V is a common embellishment and is probably the most common thing Mickey Baker does is the book. Originally Posted by joe2758
-
honestly I was just hoping someone would tell me I did a good job on my initial stab because I never got enough encouragement from adults
-
right. the Eb7 is the aug 6, which is pre dominant chord that goes to a subdominant chord in this instance. So thats why i said about needing to lump the A minor in with the D7 for that particular analysis
I think D major in these kind of changes in minor keys originally come from folk modality... through folk and urban song it came into cabaret and pop music in Europe, I think especially in Nrothern Europe... it's folk A Dorian... lots of folk music is based on it.
To me this D7 is functioning like Dorian dominant.
As per Eb7 - can you tell me where is the aug6?
Reply With Quote
Grant Green, What is This Thing
Today, 01:59 PM in Ear Training, Transcribing & Reading