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Harmony 4 topics are heard clearly in these tunes. They also contain many concepts from Harmony 2 and 3. If possible try to listen to the recorded versions listed here, but at least try to find transcriptions or published scores for analysis and application. Concept: Deceptive Resolutions “Day Dream” Ella Fitzgerald Ella Fitzgerald Sings the Duke Ellington Song Book (Duke Ellington and Billy Strayhorn) H4 --------------------------------------------------- Bass ostinato [intro]  Deceptive resolutions of Secondary Dominants to unexpected target qualities  Constant Structure: dominant quality chords at the end (not notated) “Early Autumn”] Woody Herman Early Autumn featuring Stan Getz (Ralph and Woody Herman) Interpolated II-7 Literal melodic sequence Guide tone line (strong, w. 5th and leap though: bars 9-13) H3 --------------------------------------------------- Modulations: Direct into bridge; transitional out of bridge  Extended SubV7  SubV7 with related II-7  Interpolated substitute dominants H4 --------------------------------------------------- Deceptive resolution: V7/III resolving like SubV7  Deceptive resolution: subV7/III resolving down P5 



Guid e tone line (st rong)

“Felicia and Bianca” Toots Thielemans The Brazil Project (Oscar Castro-Neves) H2 --------------------------------------------------- Modal interchange IV-7, bVII7  Secondary Doms and related II-7  Interpolated II-7  Diatonic sequence with interval alteration  Motivic manipulation H3 ----------------------------------------------------

Burns

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 Modulation  #IV-7(b5)  V7 standard deceptive resolution (bar 34) H4 --------------------------------------------------- Deceptive resolutions of Secondary Dominants  Possible VII7, VI7 and III7  Lydian intro and outro Concept: Contiguous II V and Contiguous Dominants “Blood Count” [2409] Duke Ellington ...And His Mother Called Him Bill (Billy Strayhorn) H2 --------------------------------------------------- Line cliche in major and minor  Modal interchange  Extended dominants H3 --------------------------------------------------- SubV7 with chromatically related II-7  Modulation H4 --------------------------------------------------- Contiguous Dominants  Special function dominants  Constant structure  Dominant and Tonic Pedal “Angel Eyes” Sonny Stitt and the Hank Jones Trio The Good Life (Matt H2 --------------------------------------------------- Minor key harmony, VI-7b5 H3 --------------------------------------------------- SubV7/V  Direct Modulation H4 --------------------------------------------------- Contiguous II V  bVI7  Short tonic pedal

Dennis)

“Eye of the Beholder” Chick Corea Eye Of The Beholder (Chick Corea ) Contiguous II V

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    

Constant Structure Hybrids Polychords Inversions Deceptive Resolutions

Concept: Special Function Dominants “Here Comes the Sun” The Beatles Abbey Road (George Harrison) H2 --------------------------------------------------- bIII and bVII Modal interchange chords H3 --------------------------------------------------- Standard deceptive resolution of V7 H4 --------------------------------------------------- II7  Inversion “Dream” Sarah Vaughan The Complete Sarah Vaughan on Mercury Vol. 3 (J. Mercer - Chappell) H4 --------------------------------------------------- VII7 with related II-7  Deceptive resolution of V7/III

Disk 1

“Sweet Zurzday” Duke Ellington The Great Paris Concert (Duke Ellington and Strayhorn) H3 --------------------------------------------------- SubV7 H4 --------------------------------------------------- bVI7

Billy

Concept: Pedal Harpsichord Concerto #1 Excerpt Glen Gould Bach - Keyboard Concertos 1, 4, & 5 (J. S. Bach H4 --------------------------------------------------- Tonic Bass Pedal in Minor

Nos.

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 Short Tonic Soprano pedal Symphony #1 Excerpt [7834] Brahms Symphonie No. 1 Berliner Philharmoniker (J. Brahms) P. 22 show play H1 --------------------------------------------------- Alto and Tenor clefs  Many notes on leger lines H2 --------------------------------------------------- Motivic manipulation: diatonic sequence with interval alteration H4 --------------------------------------------------- Tonic Pedal in bass “Free Fallin'” [10421] Tom Petty Full Moon Fever (Tom Petty and Jeff Lynne)  Double Pedal: Tonic and Dominant  Bass Ostinato 4113. “Takin' It to the Streets” The Doobie Brothers Takin’ It To the Streets (Michael McDonald) IV-7 Modal Interchange chord  Secondary Dominants: V7/V, V7/IV/b7 H4 --------------------------------------------------- Dominant bass pedal  Tonic soprano pedal  Inversions “Looking for Answers” Susan Tedeschi Just Won’t Burn (S. Tedeschi) H4 --------------------------------------------------- Tonic Pedal in Bass  II7  Inversion Concept: Ostinato “Prayer (Oh Dr. Jesus)” [124] George Gershwin’s Miles Davis - Porgy and Bess (George Gershwin, arranged by Gil Evans) H4 --------------------------------------------------- Layered ostinato

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 Tonic pedal at beginning  Tonic Dorian

. “Time” Mary J. Blige Mary (Mary J Blige, Chucky Thompson, and Stevie Wonder) P. H4 --------------------------------------------------- Layered ostinato

Concept: Modal Harmony “X Marks the Spot” Joe Sample The Pecan Tree (Joe Sample H3 --------------------------------------------------- SubV7  Direct modulation H4 --------------------------------------------------- Dorian Modal Harmony  Aeolian Modal Interchange  Hybrids  Bass ostinato “Eleanor Rigby” [246] Beatles Revolver (John Lennon and Paul McCartney) H4 --------------------------------------------------- Aeolian and Dorian Modal Harmony  Tonic pedals  No V7 in the tune “King of the Hill” Spirit Trail Bruce Hornsby (Bruce Hornsby)  

Mixolydian/Dorian mixture; b3 in Bass, Mixolydian Melody Bass Ostinato

Concept: Modal Interchange “Little Sunflower” Freddie Hubbard Backlash (Freddie Hubbard) H4 --------------------------------------------------- Dorian harmony with Phrygian and Ionian Modal Interchange

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 

Dorian melody in the ‘A’ section Bass Ostinato

“Crystal Silence” Chick Corea and Gary Burton Crystal Silence H4 --------------------------------------------------- Modal Interchange  Aeolian with Dorian and Phrygian Modal interchange chords  Harmonic Sequence  Quartal voicings Concept: Hybrids “Don’t Take Me Alive” Steely Dan Royal Scam (Walter Becker and Donald Fagen) H4 --------------------------------------------------- Hybrids  Aeolian Harmony with Hybrid Reharmonizations  Modal interchange  Short example of Constant Structure in bars 25 through 27  Tonic Pedal with Hybrids in bars 54 to 58 “Passage” Chick Corea Elektric Band Eye of the Beholder (Chick Corea) H4 --------------------------------------------------- Hybrids  Polychords  Ostinato “Lakes” [3904] Pat Metheny Watercolors (Pat Metheny) H4 --------------------------------------------------- Hybrids  Tonic Pedal  Brief four tonic system at Letter B  Harmonic Sequence

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Concept: Polychords “Blue And Green” Bill Evans Affinity (Miles Davis) H3 --------------------------------------------------- Modulation  SubV7s H4 --------------------------------------------------- Ambiguous Tonality

Concept: Constant Structure “Povo” [4452] Freddie Hubbard Sky Dive (Freddie Hubbard, arranged and conducted by Don Sebesky).    

Motivic development–melodic repetition H4 ---------------------------------------------------Constant Structure Special Function Dominant: bVI7 Bass Ostinato

“I’ll Be Around” Chaka Khan C.K. (Alec Wilder, arranged by Dave Grusin), H3 --------------------------------------------------- Modulation  Substitute Dominant  #IV-7(b5) H4 --------------------------------------------------- Constant Structure  Rhythmicized Dominant Pedal  Deceptive Resolution “Visions” Stevie Wonder Innervisions (Stevie Wonder) H4 --------------------------------------------------- Constant Structure Related to Dorian Modal Harmony

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