Chapter 7 Harmonic Analysis 135 Jazz Theory Resources VII. HARMONIC ANALYSIS: ROMAN NUMERAL ANALYSIS with COMMON JAZZ PROGRESSIONS Practice identifying key areas using Roman Numeral Analysis in the following progressions. Begin by labeling the diatonic chords of the primary key. Next, label secondary chords showing their relationship to those primary diatonic chords. Label the form suggested by each progression (AABA, ABAB 1 , ABA, Blues, etc.). List the necessary notes for modulation to the secondary keys. How do these notes relate to the chords? Apply turnaround progressions in the last two measures of the forms when appropriate. Progressions are numbered from a list used with theory classes Titles are not shown due to copyright laws. PROGRESSIONS that MODULATE to CLOSELY RELATED KEYS Progression no. 1 Am7 Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7 A7 Dm7 G7 Cmaj7 A7 Dm7 G7 Fm C E7 Am7 Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7 A7 Dm7 G7 Eø7 A7 Dm7 G7 C ‘ Progression no. 2 C ‘ E7 ‘ A7 ‘ Dm7 ‘ Bø7 E7 Am7 ‘ D7 ‘ Dm7 G7 C ‘ E7 ‘ A7 ‘ Dm7 ‘ F Fm Em7 A7 Dm7 G7 C ‘
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Chapter 7 Harmonic Analysis 135
Jazz Theory Resources
VII. HARMONIC ANALYSIS:
ROMAN NUMERAL ANALYSIS with COMMON JAZZ PROGRESSIONS
Practice identifying key areas using Roman Numeral Analysis in the following progressions. Begin bylabeling the diatonic chords of the primary key. Next, label secondary chords showing their relationshipto those primary diatonic chords. Label the form suggested by each progression (AABA, ABAB1, ABA,Blues, etc.). List the necessary notes for modulation to the secondary keys. How do these notes relate tothe chords? Apply turnaround progressions in the last two measures of the forms when appropriate.Progressions are numbered from a list used with theory classes Titles are not shown due to copyrightlaws.
PROGRESSIONS that MODULATE to CLOSELY RELATED KEYS
C - Am7 Dm7 - G7 C - Am7 Dm7 - G7 Em7 - Am7 Dm7 - G7 C ‘
The harmonic progression from the Gershwin’s I Got Rhythm is used for hundreds of jazz compositionsincluding Oleo, Moose the Mooche, Cottontail, Anthropology and many others, is also based on aturnaround progression. Several versions of the harmonic possibilities for “rhythm changes” will beconsidered in chapter 8.
There are several tunes which share the same common A Section. A partial list with their usual keysincludes: Take the “A” Train (C & Ab), O Pato (D), Girl from Ipanema (F & Db), Lucky Southern (D),and Watch What Happens (Eb & F).
Progression no. 21.Common A section
C ‘ D7 ‘ Dm7 G7 C ‘
MODULATES to REMOTE KEYS
Progression no. 22
Bb‘ Aø7 D7 Gm7 C7 Fm7 Bb7
Ebmaj7 ‘ Ebm7 Ab7 Dbmaj7 ‘ C#m7 F#7
Bmaj7 ‘ Cø7 F7 Dm7 Db7 Cm7 F7
Progression no. 10
Bbmaj7 (F7) Fm7 Bb7 Ebmaj7 ‘ Ab7 ‘
Bbmaj7 ‘ C7 ‘ Cm7 G7 Cm7 F7
Bbmaj7 (F7) Fm7 Bb7 Ebmaj7 ‘ Ab7 ‘
Bbmaj7 ‘ C7 ‘ Cm7 F7 Bbmaj7 ‘
C#m7 F#7 Bmaj7 ‘ Bm7 E7 Amaj7 ‘
Am7 D7 Gmaj7 ‘ Gm7 C7 Cm7 F7
Bbmaj7 (F7) Fm7 Bb7 Ebmaj7 ‘ Ab7 ‘
Bbmaj7 ‘ C7 ‘ Cm7 F7 Bbmaj7 ‘
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Progression no. 23
Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 Dø7 - G7 Cmaj7 ‘
Cm7 Fm7 Bb7 Ebmaj7 Abmaj7 Aø7 - D7 Gmaj7 ‘
Am7 D7 Gmaj7 ‘ F#ø7 B7 Emaj7 C7
Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 Gb7 Ab/C B°7
Bbm7 Eb7 Abmaj7 (Gø7 - C7)
Five Common Tunes: All Twelve Keys
A well prepared jazz musician can play in all twelve keys. These five commonly called jazz tunes requireknowledge of all twelve keys: All the Things You Are (4bs, 0#s or bs, 3bs, 1#, & 4#s), Cherokee (2bs, 3bs, 1b, 5#s,3#s, & 1#), Body & Soul (5bs, 2#s, & 0#s or bs), ‘Round Midnight (6bs, 5bs, 3#s, 4bs, & 4#s) and Joy Spring(1b, 4bs, 6bs, 3#s, 1#, & 3bs).
PROGRESSIONS SHOWN with RNA
PROGRESSIONS that MODULATE to CLOSELY RELATED KEYS
The leading tone of the key of vi (G#) is needed in mm.6-7 and mm.22-23. The leading tone C#, and a Bb
are needed to tonicize the key of ii in mm.8, 16, and 27-28. The plagal cadence at m.15 (iv - I) requires atleast an Ab and suggests an Eb for the first two beats. The form is ABAB1. The first phrase of progressionno. 1 appears again in progression no. 23 in two other keys. It also is found in the Mozart excerpt in ex7.1.
Progression no. 1
Am7 Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7 A7vi7 ii7 V7 I IV iiø7/vi V7/vi vi7 V7/ii
Dm7 G7 Cmaj7 A7 Dm7 G7 Fm C E7ii7 V7 I V7/ii ii7 V7 iv - I V7/vi
Am7 Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7 A7vi7 ii7 V7 I IV iiø7/vi V7/vi vi7 V7/ii
Dm7 G7 Eø7 A7 Dm7 G7 C ‘
ii7 V7 iiø7/ii V7/ii ii7 V7 I
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7.1 Mozart: Piano Sonata, K.545, Allegro
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vi7 ii7 V7 I IV iiø7/vi V7/vi vi7 ii
The E7 in m.3 of progression no. 2 points to A minor and needs the G# , the leading tone of A minor. Itdoes not resolve to the A minor, but to an A7, the V7 of D minor. The A7 requires a Bb from the keysignature and C# leading tone. The D7 in m.13 is the V7 of G, needing an F#, although it never resolvesto G, instead changes to a minor 7 chord becoming the ii7. The A7 chord in m.28 would normally belabeled V7/ii, which is where it actually resolves. However, the melody note at this point in the piece is aBn, suggesting A7 is the dominant of D major and not D minor. The form is ABAC.
Progression no. 2
C ‘ E7 ‘ A7 ‘ Dm7 ‘
I V7/vi (G # ) V7/ii
(Bb , C# )
ii7
Bø7 E7 Am7 ‘ D7 ‘ Dm7 G7
iiø7/vi V7/vi (G# ) vi V7/V (F # ) ii7 V7
C ‘ E7 ‘ A7 ‘ Dm7 ‘
I V7/vi V7/ii
(Bb , C# )
ii7
F Fm Em7 A7 Dm7 G7 C ‘
IV iv iii7 V7/II*
(F# , C# )
ii7 V7 I
The form for progression no. 5 is ABAB1.
Progression no. 5 is often misunderstood because of several deceptive resolutions. The D7 in m.2 is theV7/vi even though it resolves up the IV chord. In G minor, the most common deceptive resolution is V -bVI, which is D7 - Ebmaj7. These same two chords occur here, but instead of V - bVI in G minor, it isV7/vi - IV in the relative Bb major. Only one note changes: Fn to F#. With Bb in the melody, the D7 chordis often labeled a D7#5. The A# (#5) and the Bb (b13) are same pitch with an enharmonic spelling, but A#
is senseless in the context of G minor or Bb. An augmented fifth wants to resolve up: A# - Bn, but themelody moves down Bb - An, the kind of resolution associated with a b13.
The G7 in m.5 is also often labeled G7#5 because of an Eb in the melody. This contradiction leads toconfusion. Since there is no D# in this context, and there is an Eb, it makes more sense to label the chorda G7b13. The chord functions as the V7 in C minor, and the Eb melody note and the b13 chord designa-tion reflect this.
The C#°7 in m.10 also causes much confusion. Since the bass moves down, the chord is often spelledDb°7. The C# is a better choice than Db since the chord is the secondary leading tone chord in the key ofD minor and calls for a C# and an En. Db°7 would be the leading tone chord in the key of Ebb minor with
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a key signature of thirteen flats! Some argue that this chord is a passing diminished chord and does notfunction as a leading tone chord in D minor since it does not resolve to D minor. It does pass betweenDm and Cm, but labeling it a passing diminished gives no information about its harmonic function,necessary alterations, or any suggestions for melodic resources. The functional relationship of C#°7 tothe Dm7 suggests the altered En and C# tones. This is the “Route 66” principle again: a chord may re-solve somewhere other than where it points. A dominant chord usually points to, but may follow a tonicchord. Dm moved to C#°7 just as the Cm moved to its dominant G7 in mm.5-6. The F7 in m.12 is stillthe dominant of Bb even though it resolves to Dm7. An An in the melody further illustrates the relation-ship of the C#°7 to the key of D minor. The notes of the diminished chord added to the melody noteform the notes of an A7b9 chord (A - C# - En - G - Bb). These five notes are two notes shy of a scale, miss-ing only some kind of a D and a F. The logical choices to fill out the scale are Dn and Fn, being in thekey of Bb major and following a D minor chord. Add the notes implied by the melody, the chord sym-bol and the context together and you have the D harmonic minor scale (A - Bb - C# - D - En - F - G - A).
Another deceptive resolution is rarely questioned. No one questions whether F7 is the V7 chord in thekey of Bb major even though in mm. 8-9 and mm. 11-12 the F7 resolves to a Dm7. For some, it is easierto accept deceptive dominant than deceptive diminished resolutions.
The diminished chord in m. 28 is often spelled as E°7. This makes the bass line easy to see, but maycause confusion in the analysis. Recognizing it as C#°7/E, a diminished chord in first inversion, revealsits function as vii°7/iii, a closely related secondary chord. E°7 suggests vii°7/v, and F minor, with fourflats is a very remote key and completely out of context. An E°7 and a C#°7 share the same enharmonicpitches (E-G-Bb-Db/C#) but sound the same only when taken out of context. It is important to rememberthat these chords occur in a musical contexts and must be analyzed accordingly. A C#°7 is the vii°7 ofDm, a closely related key to Bb. The third in the bass puts the vii°7 in first inversion, the most typical set-ting of a vii°7 chord in traditional music.
Learn to recognize the possible functions of diminished chord no matter how they are spelled and nomatter where they resolve. The correct identification identifies the smoothest note choices. Every time adiminished chord is encountered a process of elimination could be applied to determine the logicalmelodic resources. Understanding the value of RNA can save time, realizing that in most cases a dimin-ished chord, whether it occurs as a leading tone resolving traditionally, as a passing diminished, or adiminished resolving deceptively, the chord is derived from the seventh degree of a harmonic minorscale.
Fm7 Bb7 Eb C#°7/E Bb/F G7 Cm7 F7ii7/IV V7/IV IV vii°7/iii I V7/ii ii7 V7
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TURNAROUND TUNES
These tunes are based on the common cycle progression I - vi7 - ii7 - V7, and its most common varia-tion, I - V7/ii - ii7 - V7. This progression is often used at the end of a form to turnaround back to the topof the form. This turnaround progression could be used in the last two measures of progression no. 7 toavoid having eight beats of F then repeating to the top of the form for another F chord. The turnaroundprogression is shown in mm. 31-32. Most of progression no. 7 stays in the key of F utilizing theturnaround chords. The challenge to the progression is the bridge which goes to the close key of IV (Bb),and then to the remote keys of Gb and D. The form is AABA.
C - Am7 Dm7 - G7 C - Am7 Dm7 - G7 Em7 - Am7 Dm7 - G7 C ‘
I - vi7 ii7 - V7 I - vi7 ii7 - V7 iii7 - vi7 ii7 - V7 I
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Every child knows the melody to the A section of progression no. 8, but few seem to know the bridge.There is an interesting cycle of dominants in the bridge that point to different closely related keys with-out actually getting to those keys. Each dominant resolves to the correct root, but each chord quality ischanged to a dominant which propels the progression forward. There are two descending chromaticlines a tritone apart suggested by this progression.
1. E7 = V7/vi, the G# is required as the leading tone to Am.2. A7 = V7/ii, the C# is the leading tone to D minor.3. D7 = V7/V, the F# is from the key signature of G major.4. G7 = V7, the Fn is from the key signature of C major.5. C7 = V7/IV, the Bb is from the key signature of F major.6. B7 = V7/iii, the D# is from the key signature of E minor.7. E7 = V7/vi, the G# is required as the leading tone to Am.
7.3
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PROGRESSES to IV with SECONDARY ii7/IV - V7/IV
The backdoor dominant in mm4 resolves to the iii7, a tonic chord substitute. The form is AABA.
