When Sunny Gets Blue by Marvin Fisher
Marco Leonardi
Fisher:
G- C7 / Bb- Eb7 / FMaj7 G- / A- D7b9 / Bm7b5 Bb- / A-Ab° / G- C7 /Am7b5 D7+9
/
G- C7 / Bb- Eb7 / FMaj7 G- / A- D7b9 / Bm7b5 Bb- / A-Ab° / G- C7 / E- A7 /
BRIDGE
DMaj7 E- / F#- B7 / E- A7 / DMaj7 / D- G7 / CMaj7 A- / D- G7 / G- C7 /
G- A- / Bb- Eb7 / FMaj7 G- / A- D7b9 / Bm7b5 Bb- / A- Ab° / G- C7+9 / FMaj7
The song is in Fmaj7. I kind ask to the genius musician (Joey Goldstein,
Mark Sabatella, etc.) to have a look and kindly let me know if this analysis
is acceptable or not, in particular I wonder what is going-on on / A- D7b9 /
Bm7b5 Bb- / A-Ab° /.
This is my analysis:
G- C7 = ii V
Bb- Eb7 = iv bVII minor plagal cadences
FMaj7 G- = I ii
A- D7b9 = ii/ii V/ii
Bm7b5 Bb- = vii°/V and again minor plagal cadence (correct ?)
A-Ab° = iii #ii°
G- C7 = ii V
Am7b5 D7+9 = vii°/IV V/ii
G- C7 = ii V
Bb- Eb7 = iv bVII minor plagal cadences
FMaj7 G- = I ii
A- D7b9 = ii/ii V/ii
Bm7b5 Bb- = vii°/V and again minor plagal cadence
A-Ab° = iii #ii°
G- C7 = ii V
E- A7 = ii V
BRIDGE
DMaj7 E- = I ii
F#- B7 = ii/ii V/ii
E- A7 = ii V
DMaj7 = I
D- G7 = ii V
CMaj7 A- = I vi
D- G7 = ii V
G- C7 = ii V
G- A- = ii iii
Bb- Eb7 = iv bVII
FMaj7 G- = I ii
A- D7b9 = ii/ii V/ii
Bm7b5 Bb- = vii/V iv
A- Ab° = iii #ii°
G- C7+9 = ii V
FMaj7 = I
THANKS
Marco Leonardi
Rick Stone
Basically right but a few notes (which I included inline with your orignal
message below.
Musically Yours,
Rick Stone
website: http://www.rickstone.com
Listen to clips from my new CD "Samba de Novembro" with Tardo Hammer, Yosuke
Inoue and Matt Wilson at http://www.cdbaby.com/cd/rickstone
And drummer Al Ashley's CD "These Are Them" featuring Dave Leibman, Rick
Stone and Oliver Von Essen at http://www.cdbaby.com/cd/alashley
"Marco Leonardi" <m.leo...@tin.it> wrote in message
news:JdVye.124371$75.53...@news4.tin.it...
> This is my analysis:
>
> G- C7 = ii V
>
> Bb- Eb7 = iv bVII minor plagal cadences
>
> FMaj7 G- = I ii
>
> A- D7b9 = ii/ii V/ii
The A- D7b9 forms a "ii V7" type progression, but that can easily be seen.
I would still think of A- as the "iii" chord. At Berklee we used a system
where we just made a bracket over the "ii V7" and then analyzed it using the
standard roman numeral (but we did acknowledge the secondary dominants).
> Bm7b5 Bb- = vii°/V and again minor plagal cadence (correct ?)
It's really the vi-6 chord in 3rd inversion (Bm7b5 is really a Dm chord with
its 6th in the bass) going to iv-. Not sure where you got this viio/V. Of
course a diminished can often be a leading tone chord, but then it would
HAVE to resolve up (this one doesn't). And again, it's a "half-diminished"
not really a diminished chord (the two don't behave the same way).
> A-Ab° = iii #ii°
Abo is the biiio not the #iio. Big difference since #iio resolves up to
iii, but this chord resolves down to ii.
>
> G- C7 = ii V
>
> Am7b5 D7+9 = vii°/IV V/ii
Again, half diminished chords are not really diminished chords, just a minor
with the 6th in the bass. The progression here is really simple (like a iv
V7 moving the the Gm). Just bracket it, and label the D7 V7/ii and it makes
more sense.
> G- C7 = ii V
>
> Bb- Eb7 = iv bVII minor plagal cadences
>
> FMaj7 G- = I ii
>
> A- D7b9 = ii/ii V/ii
>
> Bm7b5 Bb- = vii°/V and again minor plagal cadence
Other things I saw were just other instances of the same thinking on other
chords in the bridge.
Marco Leonardi
MARCO
"Rick Stone" <rick...@rickstone.com> ha scritto nel messaggio
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