Analyzing the ' harmony of a song tone is an important step to be able to improvise on that structure. In the analysis we will try to relate every chord used with the home key, which for Autumn Leaves is G major. We will refer to quadriadi harmonizing the major scale, you'll find in this article (the quadriadi of the major scale).
The scale of G major (G, A, B, C, D, E, F #), as harmonization has the following sequence of quadriadi:
Gmaj7, A-7, B-7, Cmaj7, D7, E-7, F #-7b5
In the analysis of the song we shall denote these seven agreements agreements with as many Roman numerals, respectively, I, II, III, IV, V, VI, VII.
The notation that I used is as follows:
(*) In the fraction, the numerator represents the degree of harmonization calculated on the denominator, for example, B7 is the fifth grade of E-7
(**) St mean tritone substitute, in fact, usual, substitute a dominant chord with another quadriade, increasingly distant from the first three dominant tones, in fact, is exactly three tones Db7 G7, it is essentially to substitute a dominant chord with another built on its augmented fourth.
Now, the fact that any agreement to bring the home key of the song may seem, at first glance, a vain effort, the reality is that this analysis provides the musician many patterns and harmonic modulations reveals the inside of the track, for example consider the lines 23 and 24, | D-7 Db7 | Cmaj7 |, as is clear in these two measures the hue is one of C major, as well as for the coincidence of degrees, even for the cadence that is used (II VI ), where, instead of the fifth degree, we find his replacement tritone. Moreover, the shades of G major and C major are very close, because the two scales differ by a single note, F # in G and F natural in C.
June 13th, 2010 at 14:54
Hi, congratulations on the 'article' s analysis shows clear and detailed. Only one thing is clear to me, and the relation V | VI about the EB7 (ts A7). Thank you for availability.
June 13th, 2010 at 16:14
Antonio, I am very much pleased that you have read carefully, actually it was a typo made by a simple copy-paste. Find the right code on the board of the article, but let's talk about well now:
to note is the chromatic descent, thus EB7 which occupies the last two quarters of the abutment is a harmonic solution in preparation of D-7. D-7 is the second degree of the fourth (Cmaj7) than the home key that is G greater. A7 is the fifth grade of D-7 and the replacement of the tritone of A7, which is the dominant chord proceeds to three tones EB7 distance, which is exactly the deal we were looking for!
Thanks again for your attention, I hope that now everything is clear!
June 14th, 2010 at 19:01
Hi Matthias
Meanwhile, thanks for the immediate response and comprehensive. The 'analysis as for the two measures in question is now clear and accurate. You know, the question arises seeing written V | VI on tritone substitution (EB7) of A7, and could lead to confusion for those who may not unfamiliar with the "regions". Thanks for the anchors' attention shown me, you soon Anthony
June 14th, 2010 at 22:09
Happy that everything is clear Antonio, questions, requests, comments and corrections are always welcome.
Have a great week.
Matthias.
June 18th, 2010 at 14:32
Excuse me, cut me some text (luckily I had copied before shipping). This is the original message:
Hi,
min7b5 progression F #, B7, Emin belongs to a different key (E minor, harmonic minor scale built on). In fact, the F # min7b5 can still be seen in the key of G, B7, but leaves no doubt. So is the F # min7b5 in need of the village because it's the same old shade VII and II of the new.
As a further demonstration, later we find the same progression, this time with B7b9, an agreement that does not exist in a larger scale, but just in the harmonic minor scale.
Hello
June 21st, 2010 at 24:42
I agree, the fact is that the analysis of the harmony of a song, at least from my point of view is controlled improvisation, that is, to the tensions, in a sense in terms of modal, that the more they want give relief, consequently, although related to the home key, the modulation is interpretable from time to time, of course, according to the pattern that each possesses. The practical reason and that I hope will resolve your concerns, so I did not use the harmonization of the harmonic minor scale, is simply that I still had not published the article that contained it, so I tried to make sure that the content of this harmonic analysis was understandable attraveso for all the material available, even if your analysis is undoubtedly correct, and direct, and certainly also important for users of the site, because now everyone can find the material on the harmonic minor scale!
Furthermore, the fact of having a dominantb9 is certainly indicative of spanish speaking on condition of frygian frygian or dominant, but still have not dealt with this issue.
I hope I was clear, great comment, thank you!
August 26th, 2010 at 24:40
Hi, the explanation of the song was very clear. The 'only thing I can not explain and this (I speak from ignorance on the subject). Analyzing the song without seeing your explanation I personally 'I played in tonality of E minor (the relative minor of G more precisely). In doing so, the anchio Fm7 (dim5) / B7 / Em 's I've seen a momentary exchange between E minor and E harmonic minor. For the rest all the same (mean modulation to C major). I know that in practice are the same notes, but it's wrong to think of the song in the key of E minor? (At the bottom of the melody ends with a G - YES - MI that I have "convinced" that the song was in E minor). I hope I was clear to explain the problem! Thanks for your!
August 26th, 2010 at 15:29
Absolutely correct that the song is in E natural minor, with a modulation in E harmonic minor, but in the end write than the sixth grade or first makes no difference, the analysis was performed with respect to G major for providing a clarity, since they always refer to articles published in major keys, but you can certainly understand how easily think E minor or G major basically means if you start counting from one or six, or in essence it is to exchange the degrees while keeping the structure "Gauss clock" with which we characterized the degree of armnizzazione of the major scale. Again, to my way of improvising, the focus is not on the tonal centers to be closed, but you must consider each individual agreement, then, for example, an E minor could play, improvisation, wind, Dorian, Phrygian, harmonious, melody, or even pentatonic, with which I add the augmented fourth.
That said, you can think of the song in E minor wind, simply renaming the VI as I can and starting to count from there.
Thank you Dominic, I hope I answer your question.
Matthias.
August 26th, 2010 at 16:25
Clear! Many thanks for explanation!
November 23rd, 2010 at 12:16
Hello everyone,
Forgive the question, I am a newcomer to the guitar, I see very knowledgeable and helpful, so take advantage of it, because tonailità is G Major? Em should not be?
thanks good day
fabrizio
November 23rd, 2010 at 20:17
Hello Fabrizio, I have often found to answer this question, if the explanation I give do not seem sufficient evidence to read the comments previous to yours. However, the natural minor key, that is, the minor key of which you speak is closely linked to its relative major or G major, then you know very well that the considerations that are identical harmonically, simply, you may identify the sixth degree of G greater with the first in E minor, the seventh with the second and first and third, that I consider harmonizing the natural minor scale, which will be E-7-7b5 F # Gmaj7 A-7 B-7 Cmaj7 D7, but as you can see these agreements are exactly the ones that make the harmonization of the major scale of G, then, for example, a higher G II VI VII III an IV in E natural minor, and this "movement index" or renaming is can do it over any way (see the article in the ways of the major scale), mean that if you want to consider an analysis from the degree of harmonization that identifies, for example, the Lydian mode, maybe because at some point have not only an augmented fourth, but also augmented fifth and would like to justify speaking of Lydian increased, well, you can easily do your renaming harmonization since fourth grade ... but you know very well that the substance is not changed much ... I hope to been clear, see you soon.
mattia.
December 13th, 2010 at 11:44
Thanks Matthew, you were very clear, now is definitely the most chiao.
thanks a lot again.
fabrizio.
December 14th, 2010 at 08:23
Fabrizio figured, I'm glad to go better.