Form: ABC 32 Bars
Section A 16 Bars
The first 2 bars consist of a ii7b5/V7 of the III which is not going to resolve, but instead it will move on at bars 3-4 to the ii7/V7 of the I.
Again the resolution is eluded and at bars 5-6 a ii7/V7 of the IV precede a bar of IV∆. To be noticed how the transition to the IV∆ happens before the I one is confirmed.
Bar 7 consists of a backdoor dominant of the I∆ that finally makes its appearance at bar 9. To make this late I∆ even more vague a perfect fourth sings on the melody on the bit of the first half.
Once again at bar 10 appears a ii7b5/V7 of the III which is now going to resolve in bar 11 to the iii7, a perfect fourth sings on the melody.
At bar 12 follows a ii7/V7 of the bVII. This can be thought for practical matters as a i7/IV7. This IV7 is a backdoor dominant of the V∆, which follows at bar 13. Here again an unusual perfect forth sings in the melody on the bit of the first half.
For the third time at bar 13 appears the ii7b5/V7 of the III which is moving on at bars 15-16 to a ii7b5/V7 of the VI.
Section B: 8 bars
The more relaxed section B (one change per two bars) begins with a VI7alt, on which sings a b6, followed on bars 19-20 by a ii7 where a perfect fourth is singing.
Bars 21-22 consist of a backdoor dominant of the I∆, with its sharp forth on the melody..
The following 22-23 bars complete the cadence with the I∆, , here a major ninth is singing in the melody
Section C: 8 Bars
It’s a sort of coda, which consists of three different ii7b5/V7, a whole tone descending apart, (one change per bar) leading to the I∆ in the last two bars.
The first ii7b5/V7 at bar 25-26 is going t o be the well-known ii7b5/V7 of the III.
The second one at bar 27-28 is the ii7b5/V7 of the II.
The third one at bar 29-30 is the ii7b5/V7 of the I, which will finally resolve to the I∆ for the length of the last two bars of the tune. The melody ends up on a perfect fifth.
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