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  1. #1

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    The standard I am doing for the next 4-6 weeks is this one. Really looking forward to it. As usual, I start with a "harmonic analysis". Is this considered correct? I am thinking that an arpeggio focused approach to this song can be a good choice, as we are modulating quickly.


    Also, what would you consider to be the temporary key in the green field with the Bb7 Eb7?

    I would guess F minor, relative minor from F major, since that's part of the concept in the song. So melodic minor IV dominant and VII dominant from natural minor?


    Ornithology - harmonic analysis-screenshot-2018-11-22-23-50-01-jpg

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    The Jazz Guitar Chord Dictionary
     
  3. #2
    Edit that D7+9 is probably from A melodic minor?

  4. #3

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    You and your colours!

    Quote Originally Posted by znerken View Post
    I start with a "harmonic analysis". Is this considered correct?
    Sure, why not? Good idea. But don't forget the idea is to clarify the tune for your playing, not do some kind of academic exam :-)

    temporary key in the green field with the Bb7 Eb7?
    Eb, except you have to play an Eb7, not major.

    The Eb7 doesn't go to an Ab chord, major or minor, so I guess it's just dominant-to-dominant. It happens.

    OR you could see the Eb7 as a sub for A7 (going to Am7b5) so you get the major to minor feel like the beginning.

    OR you could see the Eb section ending at the Bb7 and the Eb7-D7-Gm as one thing, sort of a bluesy run-down to the Gm.

  5. #4

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    Worth noting it's the changes of "How High the Moon" which I imagine you know already.
    - Lawson
    "Whenever you come near the human race, there's layers and layers of nonsense." - Thornton Wilder, Our Town

  6. #5

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    Quote Originally Posted by znerken View Post
    Edit that D7+9 is probably from A melodic minor?
    Doesn't matter. Sharpening (or flattening) the V7 chord is standard practice in a minor i-V or V-i. The b9 is more jazzy, the #9 is more bluesy.

    And if that chord is actually a D7#5#9 then it's probably to accommodate the Bb's in the melody.

  7. #6
    Quote Originally Posted by ragman1 View Post
    You and your colours!



    Sure, why not? Good idea. But don't forget the idea is to clarify the tune for your playing, not do some kind of academic exam :-)



    Eb, except you have to play an Eb7, not major.

    The Eb7 doesn't go to an Ab chord, major or minor, so I guess it's just dominant-to-dominant. It happens.

    OR you could see the Eb7 as a sub for A7 (going to Am7b5) so you get the major to minor feel like the beginning.

    OR you could see the Eb section ending at the Bb7 and the Eb7-D7-Gm as one thing, sort of a bluesy run-down to the Gm.

    This one became quite colourful! Many keys here


    Ornithology - harmonic analysis-screenshot-2018-11-23-18-39-28-jpg

  8. #7

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    Quote Originally Posted by znerken View Post
    This one became quite colourful! Many keys here


    Ornithology - harmonic analysis-screenshot-2018-11-23-18-39-28-jpg
    The whole section starting with B- is actually just a 3-6-2-5 resolving to the 1, in G Major, which brings you to the top of the form. So I'd analyze those measures as G Major.
    - Lawson
    "Whenever you come near the human race, there's layers and layers of nonsense." - Thornton Wilder, Our Town

  9. #8

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    Don't encourage him, we'll get a Picasso next time

  10. #9
    Quote Originally Posted by lawson-stone View Post
    The whole section starting with B- is actually just a 3-6-2-5 resolving to the 1, in G Major, which brings you to the top of the form. So I'd analyze those measures as G Major.
    Nice. Since How High the Moon has that D7 resolving to G major, I would also put that in G major. So like this?:

    Ornithology - harmonic analysis-screenshot-2018-11-23-19-12-35-jpg

  11. #10

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    Quote Originally Posted by znerken View Post
    Nice. Where would you place the D7+9 before the B- then? It’s probably from G minor?
    Maybe not. In rhythm changes, we get 1 6 2 5/3 6 2 5/ notice the 5 here comes before the 3, so our D7+9 might already be pointing to the resolution to G major. If that's the case, then you have a long section here that is pretty much G major, with the outliers being the Am7b5 D7 Gm7 and that odd Eb7 which, btw, is only implied in the melody line in the held-over Db note.

    I keep looking at that Am7b5 D7 Gm7 and wondering if it's working a tension of Gm resolving to Gmaj, a symmetrical reversal of the opening line, which went from G major to G minor.

    I'm still a little stumped with some of this, I confess.
    - Lawson
    "Whenever you come near the human race, there's layers and layers of nonsense." - Thornton Wilder, Our Town

  12. #11

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    znerken, you worry too much. Personally, I'd play it and see what sounded best. Simple as that. If you don't like something, change it.


  13. #12
    Quote Originally Posted by ragman1 View Post
    znerken, you worry too much. Personally, I'd play it and see what sounded best. Simple as that. If you don't like something, change it.

    I always start new standards by looking at stuff like this. I don’t worry, but I see it as great exercise. All part of the big picture.

  14. #13

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    Sure, but you don't want to get hung up on it for too long!

    The other thing you could check out is this. It was one of the standards we did. There's some very good stuff on there.

    November 2017 - How High the Moon

  15. #14

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    I think you wrote Relative Minor when you meant Parallel Minor?

    This pattern, ii-V-I's descending in tones, you see this a lot

    Cherokee
    Recorda Me
    What's New
    Midnight Sun
    Early Autumn
    Solar
    Tune Up

    Just off the top of my head.
    Important to remember - it's Gm first time G second time in bar 11!

    OK analysis wise, I think

    G
    2-5-1 to F
    2-5-1 to Eb7
    2-5-1 to Gm
    2-5-1 going into a Longgggg turnaround (3-6-2-5) in G

    Second half
    G
    2-5-1 to F
    2-5-1 to Eb7
    2-5-1 to G
    2-5-1 going into 2 short turnarounds (3-6-2-5, 1-6-2-5) in G

    Done. Next.

  16. #15

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    Oh yeah, I don't really give a shit about the D7#9. What's that about, lol?

  17. #16
    Quote Originally Posted by christianm77 View Post
    I think you wrote Relative Minor when you meant Parallel Minor?

    This pattern, ii-V-I's descending in tones, you see this a lot

    Cherokee
    Recorda Me
    What's New
    Midnight Sun
    Early Autumn
    Solar
    Tune Up

    Just off the top of my head.
    Important to remember - it's Gm first time G second time in bar 11!

    OK analysis wise, I think

    G
    2-5-1 to F
    2-5-1 to Eb7
    2-5-1 to Gm
    2-5-1 going into a Longgggg turnaround (3-6-2-5) in G

    Second half
    G
    2-5-1 to F
    2-5-1 to Eb7
    2-5-1 to G
    2-5-1 going into 2 short turnarounds (3-6-2-5, 1-6-2-5) in G

    Done. Next.


    Yes, that's the exact same as I have in my latest version (If I didn't misunderstand you that is). Thanks for catching the typo.


    Ornithology - harmonic analysis-screenshot-2018-11-23-23-08-26-jpg
    Last edited by znerken; 11-23-2018 at 06:10 PM.

  18. #17

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    Great. So now you can play it!

  19. #18

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    Quote Originally Posted by christianm77 View Post
    it's Gm first time G second time
    YES!

    that's the bit that gets ya

  20. #19
    I am deep into this song.

    However, I really like the way the melody ends the first time on the Bird movie soundtrack, instead of the triplets that seems to be in what's considered the standard versions.

  21. #20

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    The triplets are in the original version, I think Bird changed it subsequently.

  22. #21

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    Most people play the turnaround lick from this recording:



  23. #22
    Quote Originally Posted by christianm77 View Post
    Most people play the turnaround lick from this recording:



    That's the same as in the video I posted, isn't it? Know any good transcriptions of the turnaround?