Date: March 27, 2007 ( you suggest a song ... message Massimo Ravasi)
Hello Alberto,
I have seen and heard your video, compliments no doubt you are very good!
Seize the opportunity to show you a standard to analyze and play hoping to learn more and more 'serious professionals, and available to you. The song and
'"SUMMER" by Bruno Martino.
A track that already I loved 'when he sang the author and I have happily discovered to have become a jazz standard.
I like to play (I'm talking about improvisation) and maybe with your help I will succeed '(note that I am a self-taught 48 years in love with the guitar and jazz, but often fails to match the two things ... ...).
I hope this song will attract your attention as I think it merits.
Thanks in advance
Massimo Ravasi
Hello Massimo,
eccoci qui con il primo appuntamento dedicato al brano da te richiesto.
Mi auguro che questa lezione possa essere utile a te e a chiunque altro abbia l'interesse di leggerla.
Grazie a te!
Alberto Tebaldi
"ESTATE" di Bruno Martino
Questo brano viene suonato spesso in diverse tonalità... per l'analisi armonica, argomento di questa lezione, ho scelto la tonalità di B minore (relativa alla tonalità di D maggiore) e alcuni riferimenti alla versione suonata da Joao Gilberto all'interno della quale il musicista adotta alcune semplici ma interessanti sostituzioni di accordi.
Così come nella gran parte degli standards jazz, anche in questo brano si fa un largo II-VI cadences use of major and minor II-VI, although sometimes hidden behind deceptive agreements, either because of enharmonic writing, either because of equivalence of real and harmonic substitutions more or less complex!
The analysis will therefore propose a second important function ... which is to reveal some "camouflage" of agreements that can be reused in other contexts through the reverse process, for example, to "disguise" the cadence set within your own composition in order to make them less obvious.
Ps. The chorus will be highlighted as points of tension and relaxation of the agreements according to the colors on the chart "The 3 Stars diatonic" lesson that can be found in "color and music - I 7 AGREEMENTS of the major key" published in this very blog.
Click image to enlarge
HARMONIC ANALYSIS
Section A
The song is characterized by a typical AABA.
Section A of the song spread over 14 bars (bars) and uses, in line Overall, 2 shades:
• B minor (relative to the key of D major)> bars 1 / 8 and 13/14
• G more> bars 9 / 12
In 4th and 5th (and 6th) measure, we find the first period will lower
v F # 7 / # 5 - the Bm9
In the 7 th and 8 th stop find a cadence II-V increased
II Em7 - V A7b9/13
between 8th and 9th beat we have the first change of tone that B minor / D major to G major changes in perfect cadence extended II-VI-IV major culminating in the 12th beat.
II Am7 - D7 V (b9/13) (A ° J. Gilberto) - Gmaj7 I - IV Cmaj7 (# 11) (GM6 J. Gilberto)
As you can see the version of Joao Gilberto and the Vgrado IVgrado cadence have been replacements, these agreements may, at first, detecting the recognition of cadences typical of that part of these fans, even going complicate the interpretation at the time of combining scales and arpeggios for improvisation. The
A ° (down) used by J. Gilberto is nothing but a typical replacement of the 7th harmonic of the dominant place 1/2tono below, in this case, then the agreement Ab7 (b9), which transported the third child becomes D7 (b9), Vgrado of Gmaj7, agreement on which the cadence resolves.
Ab7> 3 ª less> B7> 3 ª minor> D7> 3 ª minor> F7> 3 ª minor> Ab7 ... etc..
A ° = 1A - B3C - b5Eb - bb7F # ... these same footnotes to become D7: 5A
- b7C - b9Eb - 3F # = D7b9 ... no tonic!
Tensions (b9/13) specified in the signing of the agreement also suggests the use of symmetric diminished scale dominant (semitone-tone) to which our D7 ("disguised" A °) belongs.
Scale decreased dominant 1D D7
b9Eb 3Gb 9F # 5A # 13B 11Ab b7C
This scale is also known as Octofonica made up of 8 notes. More generally
we may consider the D7 to improvise and use a scale altered altered any such superlocria La Scala, or the whole-tone scale, etc ... it all depends on how you played the D7 (in these cases is important to talk with their bass player and find a common solution, unless you deliberately want to "impose" on the harmony scale altered more or less dissonant).
The second place taken by J. Gilberto is definitely less obvious than the first. The GM6 instead of Cmaj7 (# 11) leads to differences in effects, we see such as: Cmaj7 (# 11) represents the tonality of G major IVgrado and therefore the Lydian mode
1C 9D 3E # 11F # 5G 13A 7B
Dalla sigla dell'accordo Gm6 si può dedurre che questo possa rappresentare solamente 3 scale modali, poiché sono le uniche scale minori che contengono la 6ª naturale (13)
- modo dorico (IIgrado della tonalità di F maggiore)
- modo dorico/#11 o scala jazz (IVgrado della tonalità di D minore armonica)
- modo ipoionico (Igrado della tonalità di G minore melodica)
...ma se si va nel dettaglio delle tre scale rapportandone i gradi all'accordo Cmaj7(#11), ossia all'accordo sostituito, possiamo vedere che nelle prime due ipotesi di scale la nota F è in contrasto con il F# del modo lidio al quale il Cmaj7(#11) appartiene... in tutti e tre i casi Furthermore, the note Bb is contrary to the nature of B, while in the latter case even the note C # joins the other two aforementioned inconsistencies.
1G 9A b3Bb 11C 13E 5D b7F
1G 9A b3Bb # 11C # 5D 13E b7F
1G 9A b3Bb 11C 13E 5D 7F #
Therefore, none of the three scales can be considered suitable for a replacement, rather a "taxation "or" Superimposition, "but this is not the case.
It 'clear that the three solutions and the third is the least stressful and therefore more "suitable" (reasoning by exclusion) but would in any case a poor choice. This means that the GM6 in this case is not a replacement of the harmonic Cmaj7 (# 11), but a real exchange agreement, which probably comes from what is called harmony "change of family", referring to the preceding, therefore, in this case, the change from a Gmaj7 GM6.
Warning! ... All this reasoning on the role of research covering the GM6 I actually wanted to put it even aware of its inaccuracy, to try to understand what are the mechanisms of analysis "for exclusion ..." which must sometimes be taken if you want to understand the precise nature of the arrangements of a song.
The most likely answer is that GM6 is simply a 7/b9 F # / # 5 anticipates that the F # 7 / # 5 contained in every subsequent minor ii-v ii C # m7 (b5) - v F # 7.
For the more advanced the GM6 can be seen as a C7 / 9 no tonic and the 5th Gius (Note G) on bass, namely the replacement of the tritone F # 7.
In conclusion, as you can see in the 2nd and the 6th stop you can put a B7 (alt) that acts as the artificial v7 Em7 below.
(This' addition will be possible, as we shall see shortly, even melodically).
For the moment it's all in the next lesson we will begin to match some scales for improvisation (at first simple, then consider more complex solutions and "dissonant" ) and, then analyzes the section B of this beautiful standard.
Thank you for your attention! See you soon ...
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