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

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 motherlode
  
Re:Commentary/Analysis: Ullas Erinnerung submitted:
2019/08/20 15:08:09
revised:
2019/08/21 01:07:27


The analysis will be done in sections beginning with [A1].

The music is basically oscillating between (2) tonal centers ... 'G' & 'C'. After opening in 'G' the music spends most of it's time in 'C'.

The music travels in both the flat and sharp directions. Music that travels in both directions is usually more colorful due to the variety of chords.

The music returns to the tonal centers via flat and sharp directions, and from the sharp side by the same distance.

Interestingly, the same diminished chord is used to return to both tonal centers, bars#8-11.

At bar#13 the music briefly travels to it's most distant point.


............................................Ullas Erinnerung (CDR)

............... b <-----------------------------------------------------------> #
.........+4... -2 ... -6 ... -3 ... -7 ... 4 ... (Tc) ... 5 ... 2 ... 6 ... 3 ... 7 ... +4
[A1]
Bar#1................................................G
2)......................................................................A
3)......................................................G
=
4)...............................................F
5)......................................................C
6)......................................................................D
7)......................................................C
=
8)...............................Bb*
9)......................................................G
=
10).....................................Bb*
11)....................................................C
12)....................................................C
13).............Db
14).....................................Bb*
15)....................................................C
16).....................................................................D









 
 motherlode
  
Re:Commentary/Analysis: Ullas Erinnerung submitted:
2019/08/20 23:47:23
revised:
2019/08/21 01:07:42


Section [A2] is a repeat of section [A1] until we reach bar#29 whereby the tonal center 'G' appears in the form of a 'C#-7b5' in the score.

A new cadence is introduced at bar#30. Notice that the cadence is more remote than previously making the return to the tonal center even more startling.


............................................Ullas Erinnerung (CDR)

............... b <-----------------------------------------------------------> #
.........+4... -2 ... -6 ... -3 ... -7 ... 4 ... (Tc) ... 5 ... 2 ... 6 ... 3 ... 7 ... +4
[A2]
Bar#17...............................................G
18)....................................................................A
19).....................................................G
=
29)............................................F
21)......................................................C
22)....................................................................D
23)......................................................C
=
24).............................Bb*
25)......................................................G
=
26).....................................Bb*
27)......................................................C
=
28)....................................................................D
29)......................................................G
30)..............Eb
31)......................................................G
32)..............................Eb











 
 motherlode
  
Re:Commentary/Analysis: Ullas Erinnerung submitted:
2019/08/21 00:51:11
revised:
2019/08/21 02:23:22


Section [B] has only (1) tonal center ... 'C'.
But to better understand what is happening here an understanding of chord families would be helpful.

The lydian tonic 'C' as seen in the CDR actually represents it's entire chord family:

Cmaj7 .. D7 .. F#-7b5 .. A-7 .. B7b9.

For all practical purposes, they are all the same chord. It's the 'B7b9' as seen in the score bar#35 that can be misleading. Never-the-less, an understanding of chord families quickly clears it up, letting us know that it's lydian tonic is 'C' as seen in the CDR.

For the 1st time we see a 'G', bar#36, that is NOT a tonal center ... it's a lydian tonic in support of the tonal center ... 'C'.

And for the 1st time we see the cadence, bar#46, coming from the ever remote (-2) back to the tonal center ... 'C'.


.............................................Ullas Erinnerung (CDR)

............... b <-----------------------------------------------------------> #
.........+4... -2 ... -6 ... -3 ... -7 ... 4 ... (Tc) ... 5 ... 2 ... 6 ... 3 ... 7 ... +4
[B]
Bar#33...............................................C
.........................................................................D
34).....................................................C
35).....................................................C
36).............................................................G
37).....................................................C
38).....................................................C
39).....................................................................D
40).............................Eb
41).....................................................C
..........................................................................D
42).....................................................C
43).....................................................C
44)..............................................................G
45)..............Db
46)..............Db
47)......................................................C
48).......................................................................D















 
 motherlode
  
Re:Commentary/Analysis: Ullas Erinnerung submitted:
2019/08/21 02:58:05
revised:
2019/08/21 10:58:11


Section [A3] is basically the same as sections [A1] & [A2] with a slight variation of chord sequence near the end.

However, there is (1) significant event in bar#64 before taking the Da Capo ... a change of color (see below).

The chord ... D7#9 ... belongs to Eb-lydian augmented: Eb..f..g..a..b..c..d




file type[image/jpeg]

click here to display image file in a new window

 




 
 motherlode
  
Re:Commentary/Analysis: Ullas Erinnerung submitted:
2019/08/21 05:45:14
revised:
2019/08/21 10:58:24


The CODA is a final descent to the (2) tonal centers 'G' & 'C'.

Bar#65 ... 'Amaj', 1st inversion, shows for the 1st and only time in the music. The composer appears to want a chromatic bass line down to the tonal center 'C'.

I added the bass note under the lydian tonic for the sake of discussion, but such an accommodation is totally unnecessary.

Bar#69 ... we arrive to the tonal center 'C' in the form of an 'A-7'.

Now, the 2nd descent to 'G' bar#70.
The 'A-7' is used as a pivot chord by changing it's bottom note.

Bar#72 we arrive at the 2nd tonal center ... 'G'.

............................................Ullas Erinnerung (CDR)

............... b <-----------------------------------------------------------> #
.........+4... -2 ... -6 ... -3 ... -7 ... 4 ... (Tc) ... 5 ... 2 ... 6 ... 3 ... 7 ... +4
CODA
Bar#65.....................................................................A/c#
66).............................Eb/c
67)..............Db/b
68)......................................Bb+
69).....................................................C
=
70)............................................C/d
71).............................Bb/Ab
72-73).................................................G









 


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