1. #1
    I am looking for help with analyzing the piece Orthodox by Reiner Baas. Here is the tune:

    Orthodox | Reinier Baas

    And here is a chart I found online:
    Orthodox - Reinier Baas - Free Download PDF

    Here is also a nice live version:

    Reinier Baas - Orthodox (Live @ Bimhuis - Amsterdam) - YouTube

    I am very new to harmonic analysis and this is an attempt to get better and learn from the music I like. I struggled with it for a while but I didn’t get very far. Any help will be much appreciated.
    Also if you could point me to any resources for learning harmonic analysis for this kind of music, I would be very grateful.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2
    I came up with an analysis of the first few bars, starting at bar 5, where the melody starts:

    Bar 5 – Bmin is I of Bmin natural


    Bar 6 - A6(add2) is VII of Bmin natural

    Bar 7 – Gmaj is VI of Bmin natural or Bmin harmonic

    Bar 8 – this is where we leave Bmin natural. The chart says F#sus2/F#maj, but in the recording (not in the chart) the melody plays “e”, so it’s actually F#7. F#7 could be V of Bmin harmonic (makes sense if Gmaj in Bar 7 is a pivot chord from Bmin natural to Bmin harmonic)

    OR F#7 could be a tritone substitution for C7, which in turn could be a secondary dominant to Fmaj7#5 in bar 9. Maybe both are true, and this is how F#7 connects bar 7 and bar 9.

    Bar 9 – the chart says F6, but I hear F in bass, c#, d, e, f and g . Which points to Dmin harmonic scale, and suggests Fmaj7#5 (sus2, add6) chord (iii of Dmin harmonic)

    Bar 10 Charts says it’s E6(add2). I hear E in bass, and B (fifth), f#(nineth) and c#(sixth), but no third to indicate major or minor. But considering that bar 11 has Bmaj7/D#, major, i.e. E6(add2) makes more sense – it would be IVth of Bmaj, and Bmaj7/D# would be I of Bmaj. I don’t know how we went from Dmin harmonic in bar 9 to Bmaj in bar 10.

    Bar 11 - Bmaj7/D# looks like I from Bmaj.

    That's all I've got for now.