First I want to thank you for your comments on my analysis. As allways you
make a lot of sense, and provide major enlightnment. Thanks truly.
This discussion has made me think about modulations, as for instance, I
tryed to analyse bars 9-16 as
[G major]
G6 | % | Cmaj7 | % | C#m7b5 | F#7b13 | Bm(maj7) | Bm7 |
I | | IV | | #ivm7b5| V7/iii | iii(maj7)| iii |
Now, I would usually think that this line is in G major because of the
initial G, but I didn't detect the modulation to Bm in the last 4 bars. It
looks obvious to me now (after reading your post...) but back then, it
seemed moderately logical. The #IVm7b5, is NOT (as you stress) diatonic,
although I thought so (as someone else has referred it could be seen as a
VIIm7b5 with a natural 5th on the bass and I've seen this motion in other
tunes).
Anyway, thats how you figure a modulation, right?, when you encounter a
chord that is NOT DIATONIC to the present key (and not a sub, or a secondary
dominant)
"Considering that this tune begins and ends
"with Bm, it might be better to analyze the tune
"in that key. Anthing else is a stretch.
"Bm is in 2#s. Typical modulations move to keys
"one accidental away, so for Bm that would
"be 1# or #3s. 2#s is also the key of D.
"1# is G or Em, 3#s is A major or F# minor.
"So in B minor, typical modulations would be to
"its relative major (D) the iv chord (Em)
"and its relative major (G), and to the key
"of A and its relative minor (F#m), the dominant key.
The "one-accidental away" modulation really is an eye-opener. I already had
noticed many modulations to do precisely that (relative minor, IV or V) but
never had the insight you have now provided.
"Try analyzing the tune with those keys centers in mind.
[Bm] [??]
Bm7 | % | F#7/A# | % |Am6 | % | E7/G# | % |
i | | V7 | | | | | |
[G major] [Bm]
G6 | % | Cmaj7 | % | C#m7b5 | F#7b13 | Bm(maj7)| Bm7|
I | | IV | | iim7b5 | V7 | i | i |
[G major] [Bm]
D7/A | % | Abo | % | Gmaj7 | Em7(9) | Bm7 | % |
V7 | | | | bVImaj7| iv | i | |
[G major] [Bm]
D7/A | % | C#7/G# | % | Em6/G | F#7b13 | Bm7 | % |
V7 | | | | iim7b5 | V7 | i | |
I think I'm assuming right the sections marked G, and now I see it
contemplates the fact that theres a natural C in these chords. That leads me
to think the Am6 section is also in G major.
I still can't understand bars 5-8 and the Abo in bar 19 also iludes me
I've assumed the bVImaj7 (Lydian) of the Bm (Gmaj7) to be used as a
connecting chord for the modulation.
The C#7/G# in bar 27-28 I believe is the V7 of the F#7 in bar 30 (in the RB
we have G#m7-C#7)
But I'll think more about it during the weekend
Thanks again for even bothering to correct me. This list, with great credit
to his owner, is probably the best shot I have of ever understanding the
principles of jazz. It has helped me so much in clarifying my doubts, as a
consequence of which, my playing has improved.
So please forgive my mistakes and keep correcting me and others like me, who
didn't have the chance to learn from a real teacher.
Pedro