LearnJazzPiano.com archives: chord functions (The Duke)
amanmahajan -- 12/02/2004, 00:17:28 -- #9394
Hi.. was wondering if anybody could walk me through these changes and discuss the functions of the chords.

The Duke (A Part)

CMaj9    FMaj7 |   Gbm7b5  B7       |
Em7    Am7   |  Dm7     Fm7 Bb9  |
EbMaj7  DbMaj7|  Cm7    Bm7       |  
Bbm7    AbMaj7|  Dm7    Db9  CMaj7|

marksdg -- 12/02/2004, 07:44:34 -- #9400
This song has pretty unusual chords.  Within the song there are several 5ths progressions, but the connections between them don't seem to really follow standard rules. Really, what he seems to be doing is modulating up a 1/2 step every now and then.  

You start with the Cmaj9 to Fmaj7, which is an unusual V-I, then modulate up a 1/2 step to a III-VI-II-V-I(relative to D)with the Gb through Dm7. Then it uses the Fm7 and Bb9 to modulate up another 1/2 step to the Ebmaj7, which then follows a chromatic progression down to the Abmaj7, then modulates up another 1/2 step (using Dm7 instead of Db) and goes chromatically down to Cmaj7.

So, the standard features of this progression are

1) Starting and stopping in the same key (and on the sme chord)
2) Utilizing 5ths progressions (V-I)
3) Utilizing chromatically descending chords

The way they are put together, though, is very unusual.  I have personally never been very partial to this song (I like some other Brubeck stuff though, even "Its a Raggy Waltz").  Somehow the chords seem contrived, especially when heard with the melody.  For improvisation, the unusual chords give kind of a structureless feeling though, which sounds much better.

Jazz+ -- 12/02/2004, 10:50:07 -- #9407
Cmaj9 to Fmaj7 is a typical I to IV change.
Ater that he evades a resolution and makes a suprise change to F#-7 b5 which begins a cycle of ii V pairs (F#-7 B7, E-7 A7) back to the D-7 (ii in C)

At D-7 he again evades a resoultion and modulates into Eb a new I chord via its ii V (F- Bb7). Knowing that he may move anywhere from a I chord, he moves from Eb down a smooth whole step to the neighboring Db Maj 7. Again you can move anywhere from a Major 7th (I  type chord) because they are fully resolved already and therefore have no pull to move anywhere in particular.
From Db it moves down chromaticaly with minor 7th chords (echos of ii V with tritone subs but not quite) and arrives at Ab major 7th. Then it's a quick ii V ! back

So, the standard features of this progression are

Jazz+ -- 12/02/2004, 10:51:32 -- #9409
I got cut off

Then afte arriving at Ab maj 7 it's a quick ii V back in to C

savage -- 12/02/2004, 13:31:24 -- #9412
Hereīs my analysis in roman numerals:

C:Imaj7  IVmaj7 | Related m7b5  V7/III |
IIIm7  VIm7 | IIm7  Eb:IIm7  V7/I |
Imaj7  bVIImaj7 | VIm7  chr.passing chord |
Vm7  IVmaj7 or C:bVImaj7 | IIm7  subV7/I  Imaj7 |

savage

sid -- 12/03/2004, 13:10:40 -- #9447
Listen to the Gil Evans arrangement on "Miles Ahead" - yum yum

sid

amanmahajan -- 12/04/2004, 20:53:58 -- #9472
Thanks a lot... didn't fully understand what savage said though.

Does 'related m7b5' mean that we are already in the key of E minor?

savage -- 12/05/2004, 03:27:48 -- #9474
With "related" i mean that it is related to the V7 chord that comes after it, forming a II-V. Thatīs the only function it has in this context. Some would say that itīs a #IVm7b5 but thatīs actually more of a passing chord, like in this progression:

Cmaj7   Cmaj7/E  |  Fmaj7   F#m7b5  |  G9sus  ||

7 -- 12/05/2004, 08:58:09 -- #9479
The F#m7b5 is acting as a secondary dominant in the above case.

Compare D9 (D F# A C E) and F#m7b5 (F# A C E).

amanmahajan -- 12/06/2004, 03:59:53 -- #9498
If its acting as a D9, how come it leads smoothly onto a B7 ?

7 -- 12/06/2004, 12:13:14 -- #9511
When I said "above case" I meant the case DIRECTLY above my post, ie

Cmaj7   Cmaj7/E  |  Fmaj7   F#m7b5  |  G9sus  ||

amanmahajan -- 12/06/2004, 17:30:38 -- #9518
ok..... sorry, now makes sense!

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