FreeJazzInstitute.org




Username:
Password:




Theory & Analysis
The Theory & Analysis page is the spot for general music theory questions, and more in-depth analysis of pieces.
 
  My Funny Valentine

 More Information
  Home
  About FJI

 Departments
  Bennett's Jazz Piano
  Linear Jazz Improvisation
  Transcriptions
  Theory & Analysis
  Changes
  Originals
  Discussions
  Private Instruction
  Resources
  Ear Training

 AAJ Orchestra
  Work In Progress
  Archive
  Concerts
  Summer 2010
  Summer 2009



 EdByrne
  ed@byrnejazz.com
  www.byrnejazz.com
My Funny Valentinesubmitted:
2008/11/11 10:24:30
revised:
2008/11/11 12:38:50


My Funny Valentine


My Funny Valentine contains a basic line cliché: C, B, Bb, A, Ab, G. It is a way of creating a sense of movement over harmonic stasis (inactivity).

From the Real Book changes:


Cm:
|| i | iMA7 | i7 | i6 |

| bVI MA7 | iv7 | ii7-5 | v7-9 ||

|| i | iMA7 | i7 | i6 |

| bVI MA7 | iv7 | bvi6 | V7-9/bIII MA7 (becoming V7 in Eb)||

Eb (Relative Major):

|| I MA7 ii7 | iii7 ii7 | I MA7 ii7 | iii7 ii7 |

| I MA7 V7/vi | vi ii7/IV MA7 SubV7/IV MA7| IV MA7 |(in Cm) ii7-5 V7-9 ||

Cm:
|| i | iMA7 | i7 | i6 |

| bVI MA7 | ii7-5 V7-9 | i | SubV7#11/bVI MA7 V7-9/bVI MA7 |

|bVI MA7 | (in Eb) ii7 V7-9 | I6 | (in Cm) ii7-5 V7-9 ||


The tune has a 36-measure AA'BA'' form with a 4-measure extension at the end. It plays the traditional tonal game of toggling between the relative major and minor modes (closest of all modulations because they share the same key signature).

bVI is diatonic to C (pure) minor (bVI) in a straight-forward progression (the Bbm7 is a secondary ii7, progressing to A7 (SubV7 of Ab bVI).

The final passage is ambiguous in its transitory quality. It is not clear at this point which of the two related keys it is in (Cm or Eb major), a common quality of this traditional modal exchange (the device is as old as tonal music itself): Such tunes often purposely temporarily confuse the listener as to which key it is in. It is part of its charm.

Having already heard the key relationship between Cm and Eb, in retrospect the Ab chord in the final passage can be heard dually as both bVI in Cm--and--IV in Eb. It could be considered a pivot or dual function chord in a transitory modulation.

In either case it would (most diatonically) take an Ab Lydian scale, according to Berklee dogma.

The guidelines of modulation are general: usually around four measures; but that is affected by various contextual factors, such as tempo--and especially its context in the progression (qualitative emphasis), and more. It has to somehow last long enough or be placed in a prominent place in order to be perceived to actually change tonics.

In ascertaining this, I usually start with the melody rather than the progression. I solfegge the melody, which has its own tonal logic and tonal phrasing.

Those guys knew what they were doing and how to do it. They were steeped in traditional tonal formal devices: This is as old as the hills.

Most of what I said about relative key juxtapositions hold true also for the parallel major/minor relationship. The ultimate purpose is to keep the listener guessing: If it's either too predictable or too obscure, the listener is gone and the gig is up. Often the payoff is in the final phrase.

What, in the end, is a Picardy Third?




 


Log in to Post or Reply

 
   bgp 20131026