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 EdByrne   www.byrnejazz.com

    Wave Analysis

Think of Wave as a 12-bar blues in an AABA' form with a tonal bridge. The primary key is C major, with each A section ending in the parallel minor, C minor—with a blues connotation there. The bridge modulates to Bb major, and then to Db, before repeating the A section blues in C, but with a more final melodic ending. This is an old device in the A section in which it begins in C major and ends in C minor. The melody of the A sections is very much blues. Let's not neglect also that beautiful guide-tone line counter-melody. I could just blow off of that alone—takes you right through the center of the chord changes. Then also I love making the most of the minor to major parallel interchange between the end and beginning of each chorus, especially since the minor is really a blues minor. I try to capitalize on that mood change back to the pretty major at the top. But it is so pretty that it might not occur to you to try also playing a funky blues over the entire A section. It's a 12bar blues after all. Once you get used to that, you've got one more device to make your own, to be pulled out at will, even for a few beats at a time. Same goes for Solar, another 12-bar blues thats got a pretty thing going. Wave:

  Blue Rendezvous   Circle   Dolphin Dance   Down in Brazil   Falling Grace   Filles de Kilimanjaro   Girl from Ipanema   Goodbye Porkpie Hat   Here's That Rainy Day   How Insensitive   I've Got Rhythm   In a Mist   Moonlight in Vermont   My Funny Valentine   Naima   Nardis   Nefarious Kinesis   Night and Day   Peace Piece   Ramblin'   Remember   So What   Solar   Stella by Starlight   Up Jumped Spring   Wave   Work for Art

C: || CΔ - - - | Ab°7 - - - | Gm7 - - - | C7b9 - - - | ||  IΔ  | bvio7 (incomplete G7-9, acting as a secondary dominant, V7 of V7/IV) |  ii7/IV  | V7-9/IVΔ |

| FΔ - - - | Fm6 - - - | E7 - - - | A7#5 - - - | |  IVΔ  | iv6 (tonal harmonic clihe) |  V7/VI  |  V+7/II  | 

| D7 - - - | Ab7 - G7#5 - | Cm7 - F7 - | Cm7 - F7 - :|| | V7/V7 | subV7/V7  V+7  |  i7  IV7 |  i7  IV7 :|| 

Basic blues progression: ||:  I  |  IV  | I7 (V7/IV)—or ii7/IV7 | V7/IV7 | |  IV7  | IV7 (or iv, or #ivo7, or even IVΔ) |  I  |  I  (or V7/ii7) |  | ii7 (or II7) | V7 |  I  |  I  ( or i, plus a turn-around cadence, to get back to I in this case) :|| This is a Blues! Chord Scales: || CΔ: Major | Ab°7 (Ab Diminished) | Gm7 (G Dorian) | C7b9 (C# Diminished) | 

| FΔ (F Lydian) | Fm6 (F Melodic minor) | E7 (A Harmonic minor) | A7#5 (D Harmonic minor) |

| D7 (D Lydian b7) | Ab7 (Ab Lydian b7) G7#5 (Ab Melodic minor) | Cm7 (C Dorian) F7 (F Lydian b7) | Cm7 (C Dorian) F7 (F Lydian b7) :||

These are the dogma modes (an oxymoron in this tonal context) of Chord Scale Theory a la Berklee. However, they are entirely arbitrary; and I would never limit myself to such subjective prescriptions—nor would I play locally off of each chord in any progression. If you must have scales, try this: Since the A section of this tune is in C throughout, employ the C major scale. When chords are introduced which are chromatic to the key of C, substitute those chromatic notes for the corresponding diatonic pitch of the (C) primary key. Forget this stuff, and play off of the melody. If you want to make the changes, internalize and then play off of the guide-tone line. In this way you don't have to get caught up in all that CST thinking.