*** 1 *** about strange notions...
I think I should read Music Theory book throughly again. I don't know
what the normal way of Roman notation for minor diatonic chords.
OK, we'll start basic thing together:
Take four staves of blank music sheet!
1st stave put A major scale and write Roman number for each note.
I II III IV V IV IIV I
A B C# D E F# G# A
2nd stave put natural A minor scale and write Roman number carefully
comparing with 1st stave
I II bIII IV V bVI bVII I
A B C D E F G A
OK?
3rd stave put # on G, and so put harmonic A minor scale
I II bIII IV V bVI VII I
A B C D E F G# A
4th stave write A melodic minor (accending scale)
I II bIII IV V VI VII I
A B C D E F# G# A
Now we write three notes on each notes there, to form diatonic scale
7th chords. And analysing each interval put chord characteristic
bisides
Roman Characters:
1) IM IIm7 IIIm7 IVM V7 VIIm VIIm7b5 IM
Amaj7 Bm7 C#m7 Dmaj7 E7 F#m G#m7b5 Amaj7
2) Im7 IIm7b5 bIII IVm7 Vm7 bVIM bVII7 Im7
Am7 Bm7b5 Cmaj7 Dm7 Em7 Fmaj7 G7 Am7
3) Im7M7 IIm7b5 bIII IVm7 V7 bVIM VIIdim Im7M7
Am7M7 Bm7b5 CaugM7 Dm7 E7 Fmaj7 G#dim Am7M7
4) Im7M7 IIm bIII IV7 V7 VIm7b5 VIIdim Im7M7
Am7M7 Bm7 CaugM7 D7 E7 F#m7b5 G#dim Am7M7
Here are these strange looking chords...
And I'd exclude strange sound chords like CaugM7 or Am7M7 whenever
not desirable, and de#ing the G, and use Cmaj7 and Am7/Am6 instead.
When the melody is not accending to the root, melodic minor scale
(desc) s same as natural minor scale. So Cmaj7 and Am7 fit most of
cases.
Now same chord using relative minor notion, So the tonic Am being IVm,
then they look like
2) IVm7 IIVm7b5 IM7 IIm7 IIIm7 IVM V7 VIm7
Am7 Bm7b5 Cmaj7 Dm7 Em7 Fmaj7 G7 Am7
3) IVm7M7 IIVm7b5 IaugM7 IIm7 III7 IVM #Vdim VIm7M7
Am7M7 Bm7b5 CaugM7 Dm7 E7 Fmaj7 G#dim Am7M7
4) IVm7M7 IIVm7 IaugM7 II7 III7 #IVm7b5 #Vdim VIm7M7
Am7M7 Bm7 CaugM7 D7 E7 F#m7b5 G#dim Am7M7
Here you see these II7, III7 or IIVm7
I once made chart of "available minor scale chords" like
5) IVm7 IIVm7b5 IM7 IIm7 IIIm7 IVM V7
Am7 Bm7b5 Cmaj7 Dm7 Em7 Fmaj7 G7
IVm6 IaugM7 III7 #Vdim
Am6 CaugM7 E7 G#dim
IVm7M7 IIVm7 II7 #IVm7b5
Am7M7 Bm7 D7 F#m7b5
for convinience of finding chord to give my own minor tunes...
*** 2 *** 5 - 8 bars
Here the chords are backing chromatic decending from A to F.
My weired bVIIm (or Vm in related minor) didn't convinced you. (or me)
Here Am6 - E7 going to G6 (Em7/G) I can admit that the harmonisation
uses A harmonic Minor temporally. (So C# of B minor downs to C)
So the Am6 is temporal Im6.
*** 3 *** 9 - 13 bars
I think base C in G6 - Cmaj7 is chromatic approach to C# of bar 13.
Upper voicing to backup melody is Em7, I can't hear the melody note of
E
but as the 4th note of Bm minor scale. Baseline moves G - C and gives
a feeling of pseudo-moduration to G (I-IV) but basenote of Cmaj7 (Em7/C
-- I use Cmaj7+9 here always)
is indeed leading note to next C#m7.
13 - 16 bar is natural cadence of IIm7-V7-Im (VIIm7-III7-VIm in
relative notion)
This is backward hypotesis of how Jobim did harmonisation for it...
*** m6 and m7 ***
Well, you should tell me what you mean. Maybe I don't know.
If Jobim strictly didtinguish the m7 and m6 in minor harmonisation,
I think it mean "when 7th note conflicts with rest of note, he used
6th instead of maj7th". Is it?
When I play guitar, I use m6 and m7 in differnt purpose.
If the root of the m6 is true root of minor chord, I use it like ending
minor. Or the m6 is pseudo m6 just like C6 is often just a Am7...
I use many ornament moves like (9-1), (b9-1), (b13-5), (7-6) etc. while
playing one chord. These movement of inner or upper voices are for me
natural and almost "must be so", as I hear the chord progression as
harmonic melody, or melodic harmony. I sing the chords this way.
So when I want to notate such voicing in Chord symbols, sometimes
I don't know if it's really m6 or it's actually m13 as modifier...
Well, do I send you in mail? Or to the list? ummmm... the list.
Maybe we get comment from reed.
muchan