1. No category

Bb maj.7 is the Ionian Chord of
the key of Bb. Bb is the Root, D
is the maj.3rd. F is the 5th, and
A is the maj.7th.
For extensions, C is the 2nd, or
9th, Eb is the 4th, or11th, and G
is the 6th, or 13th. Sing them
against the Chord
F min.7 is the Dorian Chord of the
key of Eb. F is the Root, Ab is the
min.3rd. C is the 5th, and Eb is the
min.7th. KP2 means Key Position
Two. Ab is the only new note.
Bb13 is the Mixolydian Chord of
the key of Eb. Bb is the Root, D is
the 3rd. F is the 5th, and Ab is the
min.7th.
For extensions, G is the 2nd, or 9th,
Bb is the 4th, or11th, and D is the
6th, or 13th.
For extensions, C is the 2nd, or 9th,
Eb is the 4th, or11th, and G is the
6th, or 13th. Sing them against the
Chord.
Sing the extensions against the
Chords. Learn to hear them
Eb maj.7 is the Ionian Chord of
the key of Eb. Eb is the Root, G is
the maj.3rd. Bb is the 5th, and D
is the maj.7th.
For extensions, F is the 2nd, or
9th, Bb is the 4th, or11th, and C is
the 6th, or 13th.
Ab9 is the Lydian Chord of the key
of Eb. Ab is the Root, C is the
maj.3rd.Eb is the 5th, and Gb is the
min.7th, and a Leading Tone .
Bb maj.7 is the Ionian Chord of the
key of Bb. Bb is the Root, D is the
3rd. F is the 5th, and A is the maj.7th.
The Gb pulls into F, the 5th of the
Bb maj.7 Chord.
For extensions, C is the 2nd, or 9th,
Eb is the 4th, or11th, and G is the
6th, or 13th.
For extensions, Bb is the 2nd, or
9th, D is the +4th, or +11th, and F
is the 6th, or 13th.
Notice that Bb has remained the
Tonal Center throughout the entire
Chord progression.
1st
Ending
C7 is the Mixolydian Chord of the
Key of F. C is the Root, E is the
maj.3rd. G is the 5th, and Bb is
the min 7th. E is the only new
note. The rest are the same as the
Key of Bb.
For extensions, D is the 2nd, or
9th, F is the 4th, or11th, and A is
the 6th, or 13th.
Cmin.7 is the Dorian Chord of the
key of Bb. C is the Root, Eb is the
min.3rd.G is the 5th, and Bb is the
min.7th.
G7b9 is the Phrygian Chord of the
key of Eb. G is the Root, B is the
3rd, and a Leading Tone. It pulls to
C, the root of the C min.7 Chord.
For extensions, D is the 2nd, or 9th,
F is the 4th, or 11th, and A is the 6th,
or 13th. Sing them against the
Chord.
D is the 5th, and F is the min .7th.
For extensions, Ab is the b2nd, or
b9th, C is the 4th, or11th, and Eb is
the b6th, or b13th.
Back to Measure One
The Song Form is AABA. This
concludes the 1st 16 measure A
section. Measures 13, 14, 15, 16 are
the 1st ending of the 1st A Section.
The F7+5b9 in measure 16 leads
back to Measure One.
The first measure of the repeated A
section would rightfully be called
measure 17, and the last as measure
32.
However, everybody thinks of it as
2nd repeat of the A section, take 2nd
ending.
Cmin.77 is the Dorian Chord of
the Key of Bb. C is the Root, Eb
is the min.3rd. G is the 5th, and
Bb is the min 7th.
For extensions, D is the 2nd, or
9th, F is the 4th, or11th, and A is
the 6th, or 13th.
F7+5b9 is the Phrygian Chord of the key of Db., F is the Root, A is the
maj.3rd , and a Leading Tone. G is the 5th, and Bb is the min.7th, it’s going
to resolve to Bb maj.7.
Db and Gb are the only new notes, All of the others are the same as the
Key of Bb. The Db / C# is the melody note. The Gb pulls to F, the 5th of
the Bb maj.7 Chord
For extensions, Gb is the b2nd, or b9th, Bb is the 4th, or 11th, and Db is the
b6th, or b13th.
2nd
Ending
Bb min.7 is the Dorian Chord of
the key of Bb. C is the Root, Eb
is the min.3rd.G is the 5th, and Bb
is the min.7th.
F7 is the Mixolydian Chord of the
key of Bb. F is the Root, A is the
maj.3rd.C is the 5th, and Eb is the
min.7th.
Bb maj.7 is the Ionian Chord of the
key of Bb. Bb is the Root, D is the
maj.3rd. F is the 5th, and A is the
maj.7th.
For extensions, D is the 2nd, or
9th, F is the 4th, or 11th, and A is
the 6th, or 13th. Sing them against
the Chord.
For extensions, G is the 2nd, or 9th,
Bb is the 4th, or 11th, and D is the
6th, or 13th. Sing them against the
Chord.
For extensions, C is the 2nd, or 9th,
Eb is the 4th, or11th, and G is the 6th,
or 13th. Sing them against the Chord.
Bridge
C#min.7 is the Dorian Chord of
the key of B. C# is the Root, E is
the min.3rd.G# is the 5th, and B is
the min.7th.
F9 is the Mixolydian Chord of the
key of B. F# is the Root, A# is the
maj.3rd.C# is the 5th, and E is the
min.7th.
B maj.7 is the Ionian Chord of the
key of B. B is the Root, D# is the
maj.3rd. F# is the 5th, and A# is the
min .7th.
For extensions, D# is the 2nd, or
9th, F# is the 4th, or 11th, and A#
is the 6th, or 13th. Sing them
against the Chord.
For extensions, G# is the 2nd, or 9th,
B is the 4th, or 11th, and D# is the
6th, or 13th.
For extensions, C# is the 2nd, or 9th,
E is the 4th, or11th, and G# is the 6th,
or 13th.
Bridge
Bmin.7 is the Dorian Chord of
the key of A. B is the Root, D is
the min.3rd.F# is the 5th, and A is
the min.7th.
E7 is the Mixolydian Chord of the
key of A. E is the Root, G# is the
maj.3rd. B is the 5th, and D is the
min.7th.
A maj.7 is the Ionian Chord of the
key of A. A is the Root, C# is the
maj.3rd. E is the 5th, and G# is the
maj.7th.
For extensions, C# is the 2nd, or
9th, E is the 4th, or 11th, and G# is
the 6th, or 13th. Sing them against
the Chord.
For extensions, F# is the 2nd, or 9th,
A is the 4th, or 11th, and C# is the
6th, or 13th. Sing them against the
Chord.
For extensions, B is the 2nd, or 9th, D
is the 4th, or11th, and F# is the 6th, or
13th. Sing them against the Chord.
Bridge
Amin.7 is the Dorian Chord of
the key of G. A is the Root, C is
the min.3rd. E is the 5th, and G is
the min.7th.
D7 is the Mixolydian Chord of the
key of G. D is the Root, F# is the
maj.3rd. A is the 5th, and C is the
min.7th.
G maj.7 is the Ionian Chord of the
key of G. G is the Root, B is the
maj.3rd. D is the 5th, and F# is the
maj.7th.
For extensions, B is the 2nd, or
9th, D is the 4th, or 11th, and F# is
the 6th, or 13th. Sing them against
the Chord.
For extensions, E is the 2nd, or 9th,
G is the 4th, or 11th, and B is the 6th,
or 13th. Sing them against the
Chord.
For extensions, A is the 2nd, or 9th, C
is the 4th, or11th, and E is the 6th, or
13th. Sing them against the Chord.
Bridge
Gmin.7 is the Dorian Chord of
the key of F. D is the 5th, and F is
the min.7th.
For extensions, A is the 2nd, or
9th, C is the 4th, or 11th, and E is
the 6th, or 13th. Sing them against
the Chord.
C7 is the Mixolydian Chord of the
key of F. C is the Root, E is the
maj.3rd. G is the 5th, and Bb is the
min.7th.
C min.7 is the Dorian Chord of the
key of Bb. C is the Root, Eb is the
min.3rd. G is the 5th, and Bb is the
min.7th.
For extensions, D is the 2nd, or 9th,
F is the 4th, or 11th, and A is the 6th,
or 13th. Sing them against the
Chord.
For extensions, D is the 2nd, or 9th, F
is the 4th, or11th, and A is the 6th, or
13th. Sing them against the Chord.
Bridge
From here, we return to the beginning for the final
A Section. This will be Measures 49 to 64. However, most of us
just think, “back to the A section, and the turn around progression
in the last two measures that takes us back to the beginning of the
Chorus.
Another thing to notice is that Bb is still indicated as
the Tonal Center. In the Key of Db, Bb is the Aeolian Tone of the
Key. F7+5b9 is the Five Chord of Bb minor Aeolian. However, at
the beginning of the next chorus it resolves to Bb maj.7.
Here is an important concept to remember. The Five
One Principal in music is so strong that any type of Five Chord
from any mode, can resolve to any type of One Chord from any
mode. In “Jazz Jargon” this is erroneously call “substitution”. In
modern composition this is called “Modal Interchange”.
F7+5b9 is the Phrygian Chord of
the key of Db. F is the Root, A is
the maj.3rd, C is the 5th, and Eb is
the min.7th.
For extensions, Gb is the b2nd, or
b9th, Bb is the 4th, or 11th, and Db
is the b6th, or b13th.
Once again, the Overview of application is to learn the
melody, listen to the backup track, and just change Key Positions at
the right time. This will get you through the tune. Once you’re
comfortable with the overview approach, you’ll begin to hear the
chord changes within the different keys that the tune modulates
through during the chorus.
The following slide shows the “Turn
Around” progression in measures 63, and 64.
Measures 63, beats 1&2
Measures 64, beats 3&4
Measures 63, beats 3&4
Measures 64, beats 1&2