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You are here: Experts > Jazz > functional analysis question
Expert: Phil Kelly Date: 8/14/2007 Subject: functional analysis question
Question hi, wondering if u could offer a functional analysis of the beginning of Jobim's "How Insensitive", esp. the Cmin6 chord in the fifth and sixth measures (when tune is in D minor, i.e. 2 measures Dmin, then 2 measures C#dim7, then 2 of Cmin6, then 2 of G7/B, into Bbmaj7,etc.)-- also, what are the available options for diminished 7 chords in tonic minor? (i'm familiar with the normal func.'s in major, but curious how those apply themselves in minor)-- Thanks!
Answer Hi Sam:
I'm not quite sure what the academic term "functional analysis" means, but I'll give it a shot from my viewpoint.
Jobims harmonic movement in this song is based on the chromatically descending bass line that leads through a series of primarily first inversion chords.
The Cmi6 can also be called a first inversion Ami75b ( the ii of G ) . The sixth bar can also be harmonized as a passing rootless D9b chord ( the V of G ) by moving the second voice chromatically down to F# and then to F natural in bar seven-creating a rootless G 9 chord which in turn resolves to a G 6.
The available diminished chords in D natural minor ( I don't know what "tonic" minor is ) generally have to be borrowed from the harmonic minor with the exception of the half diminished 7 on the second degree. A VII diminshed ( based on a borrowed C# ) would also read as an incomplete V9b chord, Another "borrowed" chord commonly employed would be the one on the raised third ( F# dim ) to lead to the subdominant minor ( gmi ) Again, a "borrowed" Eb could be added to this chord ,making it an F#dim7 ..or in turn an incomplete D9b chord.
Much Brazilian harmony utilizes this technique of chromatically shifting interior voices to guide the underllying root progressions. Check out "Wave" for similar movements:
D / Edim7 / Ami over G / F#dim7 / Bmi7 over F# /Gmi over F /
and now my favorite part ..two chords per bar :
Ebmi over E Bbaug over E / F#mi over E D# dim 7 ..
which can also be analyzed as:
F#13 C911# / F#mi 7 over B B9b
finishing with:
D over E E75b / Bb7 A7 /Dmi7 [dmi6 ] etc ..........
Hope some of this helps!
Phil Kelly
www.philkellymusic.com
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