Wave Analysis?

**elsee** · 03-22-2017, 09:29 PM

DMaj7
Bbo7,Passing Chord Approach to Am7
Am7,ii V I of GMaj7
D7b9,ii V I of GMaj7
GMaj7
Gm6,Modal Interchange G minor melodic
F#13 F#7(5) , Displacement
F#m7 B7b9,ii V Of E
E9
Bb7 A7,Tritone sub ii V

then,Bridge
Gm7 C9/Bb ,ii V of F
Am7,Tonic Sub

Can anyone explain me the use of this chord progression?
Bb9sus
Bb9/Ab
Gm7
Approach Sus?

**drbhrb** · 03-23-2017, 11:10 AM

Originally Posted by elsee

DMaj7
Bbo7,Passing Chord Approach to Am7
Am7,ii V I of GMaj7
D7b9,ii V I of GMaj7
GMaj7
Gm6,Modal Interchange G minor melodic
F#13 F#7(5) , Displacement
F#m7 B7b9,ii V Of E
E9
Bb7 A7,Tritone sub ii V

then,Bridge
Gm7 C9/Bb ,ii V of F
Am7,Tonic Sub

Can anyone explain me the use of this chord progression?
Bb9sus
Bb9/Ab
Gm7
Approach Sus?

Bridge is the essentially the same idea twice - a ii - V in F that goes to Fmaj7/A, then a ii - V in Eb that lands on Ebmaj7/G. In some versions you may see different bass movement such as the Bb Ab G that you gave as an example.

**christianm77** · 03-23-2017, 01:07 PM

Should be Fm7/Ab Bb/Ab Eb/G

Close enough though. It's a ii V I in Eb, different bass

Also the whole progression is a blues in D

Using III7 VI7 II7 V7 is a common sub for I VI II V where the melody permits

Modal interchange major for minor last A. By and large would agree with your analysis but most of the changes in Wave are extremely commonplace in standard rep.

The only unusual thing really is the use of inversions on the bridge

**pingu** · 03-23-2017, 04:27 PM

The Bbdim isn't that common

Anyone else see it as A7b9 ?

**drbhrb** · 03-23-2017, 04:30 PM

Originally Posted by pingu

The Bbdim isn't that common

Anyone else see it as A7b9 ?

For improv I think of it as A7b9 but the correct change/root is Bbdim

**BigDaddyLoveHandles** · 03-23-2017, 04:32 PM

Originally Posted by pingu

The Bbdim isn't that common

Anyone else see it as A7b9 ?

I see it in charts as Bbdim7 but functionally I'm thinking A7b9. I kinda wonder what the difference is. Bassists play the b9 all the time on 7b9 chords.

**christianm77** · 03-23-2017, 04:42 PM

Originally Posted by pingu

The Bbdim isn't that common

Anyone else see it as A7b9 ?

Well I don't know what tunes you've been learning bubba, because this:

Bbo7 Am7 D7 G

is a CLASSIC way into a G major chord.

Which is a progression from such tunes as Embraceable You, I Can't Give You Anything But Love etc.

In context, this progression being used to get into chord IV, which is also pretty classic - you see it in tunes like Sweet Lorraine, I Thought About You. You can put it in a blues if you want, rhythm changes whatever.

Again whether you use a o7 or a 7 is dependent on the Melody... In the case of Wave Bbo7 is outlined in the melody.

Anyway, I normally just play it as a secondary dominant bro, with a minor tinge in a major key... Quite boppy...

A7b9 --> D7 --> G etcetera (ignoring the Am7)

One of the more obvious uses of a o7 in so much as you can play "ii-V-I" stuff through it if that's your thing:

Bbo7b9 = Em7b5 A7b9 for instance.

V7b9 into I7 isn't talked about much, but there are many situations where it works really nice, for example on a VI7b9 chord going into II7... (Donna Lee, Yesterdays etc.)

**pingu** · 03-23-2017, 07:06 PM

Oh yeah OK I got it now !

Like in a D blues
going to the G 4chord
Bmin Bbdim Amin D7 --> G

Thanks !

**christianm77** · 03-23-2017, 07:08 PM

Originally Posted by fuzzthebee

Or F#7b9. It's funny how we often prefer thinking of diminished as this or that rather than just thinking of it as.......diminished.

Diminished chords are a pain in the bum, so anything but deal with them as diminished chords... :-)

But seriously, anything you can't turn in a ii-V or a sideslip you can effectively ignore them.... Which is actually good for creating a bebop sound...

OTOH - if you are a bit of a swinger (as it were) and like the sound of dim chords then you can find all sort of places to put diminished chords as passing chords.

And then of course, there is the diminished scale which is kind of a dimension of its own....

**pingu** · 03-23-2017, 07:09 PM

Originally Posted by fuzzthebee

Or F#7b9. It's funny how we often prefer thinking of diminished as this or that rather than just thinking of it as.......diminished.

Yeah I know , I can't do that !
Actually I can play a Dim ARPs on them
but that's about it ...
I can't hear the Dim scales myself

**christianm77** · 03-23-2017, 07:12 PM

Originally Posted by pingu

Oh yeah OK I got it now !

Like in a D blues
going to the G 4chord
Bmin Bbdim Amin D7 --> G

Thanks !

Yeah... The bIIIo7 chord is kind of the swing chord. Jobim also favours this sound.

Kind of went out of fashion a bit... Barry Harris has a good rant about how no-one plays the bIIIo7 any more, but is kind of an old school sound.

Also, very often bIIIo7 takes a 7 of the key as a melody note - a good example I was looking at today is Someday My Prince Will come... Melody note A on a Dbo7 chord... Another classic is Stella by Starlight, along with things like Tea for Two, Basin Street Blues etc.

This makes something we could invert into a dim7(maj7) sound...

Not unusual, but it's a cooler sound than a straight dim7. Usually it's an appoggiatura (a passing tone placed on the strong beat and resolving on the weak beat) resolving into a straight dim7, but it can become and entity in its own right.

Can be a portal into the diminished twilight zone, of course.

Also, I forgot. Wave is a D blues.

**pauln** · 03-28-2017, 02:39 AM

Originally Posted by elsee

DMaj7
Bbo7,Passing Chord Approach to Am7
Am7,ii V I of GMaj7
D7b9,ii V I of GMaj7
GMaj7
Gm6,Modal Interchange G minor melodic
F#13 F#7(5) , Displacement
F#m7 B7b9,ii V Of E
E9
Bb7 A7,Tritone sub ii V

then,Bridge
Gm7 C9/Bb ,ii V of F
Am7,Tonic Sub

Can anyone explain me the use of this chord progression?
Bb9sus
Bb9/Ab
Gm7
Approach Sus?

I agree with christianm77 so much about the diminished being much nicer with the added note that gives it the m6#5 sound.

I play C13 instead of Gm6... it sounds nice before the next chords.

Then
F6 playing only E A# D# so like F6/E
A#(7b13) only A D# G
E6 only D G# C# so like E6/D
A7b13 only G C# F

Those slash chords where the roots are reserved for the bass to me are THE sound of this song, second only to the m6#5 conversion of the A#dim... and these rootless slash chords (for the guitar) set up nicely for the slash chords in the bridge where the guitar does play the slash roots...

About the bridge, what I hear...

Gm7 C/A# Am7 Am7

A#(11) A#/G# Gm7 A(b13)

...where the A#(11) might be considered G#/A#...

so a nice G#/A# -> A#/G# thing... that's got to have a name.

**christianm77** · 03-28-2017, 04:56 AM

C/Bb!!!!!!!!!!

*Has minor episode...*

**pauln** · 03-28-2017, 05:14 AM

I don't get it... something I wrote...?

**christianm77** · 03-28-2017, 06:00 AM

Originally Posted by pauln

I don't get it... something I wrote...?

I'm an enharmony-nazi

Hmmmm.... an enharmonazi?

I'm correcting your spelling like a massive douche.

Basically your use of sharps makes my eyes bleed because I have no life.

**matt.guitarteacher** · 03-28-2017, 08:31 AM

:-) In seriousness, getting ennharmonics correct helps analysis a great deal as well.

So, it's actually for YOUR sake as well, rather than Christian's neurosis alone. ;-)

**christianm77** · 03-28-2017, 09:19 AM

That's right it's for your own good

**BigDaddyLoveHandles** · 03-28-2017, 11:10 AM

Heh, on the Telecaster forum there are no flat notes, just enharmonic sharps.

**pauln** · 03-28-2017, 12:37 PM

Hmm... as a guitarist that plays by ear I generally call accidentals as flats, except for F#, you know, informally.

Since this tune is in D major, a sharp key, I decided to use sharps for the chord roots and other accidentals.

Is there something I don't know here? I was expecting to be dinged for calling something C/Bb in the key of D...?

**lawson-stone** · 03-28-2017, 01:10 PM

Oh... crap... I thought this was the Physics thread and was going to expound on waves vs. particles... sorry...

**matt.guitarteacher** · 03-28-2017, 01:27 PM

Originally Posted by pauln

Hmm... as a guitarist that plays by ear I generally call accidentals as flats, except for F#, you know, informally.

Since this tune is in D major, a sharp key, I decided to use sharps for the chord roots and other accidentals.

Is there something I don't know here? I was expecting to be dinged for calling something C/Bb in the key of D...?

Conventions used in naming chords can be PIA until you get used to them, but they're worth understanding. Chords are named mostly with reference to major scale, regardless of key or chord quality. If it's a note on the staff, it could be A-sharp or B-flat on the staff depending on melody, but if it's a chord symbol, it's going to be B-flat, because of the harmonic implications. The listener's ear doesn't care whether the player is thinking A-sharp. In context it's a flat seven. C/A# is C/Bb.

**pauln** · 03-28-2017, 01:39 PM

OK, so if I'm understanding, it's Bb because it is the flat seven of A... that makes sense functionally conceptually, but how would it be scored? The chord in music notation would still align with the key signature and take the sharps, or would it diverge from the key signature and invoke an accidental flat? And if the former, would a chord symbol over the clef still indicate a flat? That would seem more confusing...

Life seems so simple when one plays by ear...

**christianm77** · 03-28-2017, 01:53 PM

Originally Posted by BigDaddyLoveHandles

Heh, on the Telecaster forum there are no flat notes, just enharmonic sharps.

That's true actually telecasters don't have those notes on them

**matt.guitarteacher** · 03-28-2017, 01:59 PM

Originally Posted by pauln

OK, so if I'm understanding, it's Bb because it is the flat seven of A... that makes sense functionally conceptually, but how would it be scored? The chord in music notation would still align with the key signature and take the sharps, or would it diverge from the key signature and invoke an accidental flat? And if the former, would a chord symbol over the clef still indicate a flat? That would seem more confusing...

Life seems so simple when one plays by ear...

Chord symbols don't really assume anything about the key of the moment or context of other chords in that sense. Everything is spelled from the root, as if you are in the major key of the root. It would be B-flat in the chord symbol, only because that makes the most sense with C as the root.

I think that even something like F#7 - C7/Bb would still be correct, regardless of key of the moment or the fact that a chord with A# immediately preceded it. Someone more knowledgeable can correct me if I'm wrong on that.

Chord symbols are written for ease of reading for the comping instrument.