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Bar 4:
Abm9 - Db13 as ii - V7 of new Key Gb major (I)...(but the resolution doesn't go to Gb as it
theoretically should ... see Bar 5 where it resolves...)
Bar 5:
Ebmaj7 (can be Gm7, vi of Eb) - Cmi7 (vi of Key Eb)*
Bar 6:
Fm7 (ii of Eb major) - Bb7 (V of Eb major)
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Bar 7: [first ending] delaying, circle-of-fifths cadence starting on III7 (G7(b5) in the original key to
VI7 to II7b5 to V7 before returning to the tonic for the second A.
NOTE: this chord should be G7b5 to C7 (Real Book has it as Gm7 C7)
G7 (III7 of Eb or V of key of C Harm. minor) - C7 (V of key of F or back-cycled from G7 ) ... or as V
of F Harm. Minor.
NOTE: Bar 7 can be treated in a number of ways ... I like to treat G7 as IV of D Harm. Minor
because it retains the #11 of G7 (C#) ... C# placed in the bass over G7 creates a smooth
descending bass line to C7 then to F7 with the #11 (B) in the bass to Bb13.
A very interesting, and very cool resolution is happening in Bars 4 & 5 : Abm7 - Db9 going to
EbMaj7 in Bar 5 (but Ebmaj7 is treated as Gm7 - which is the iii chord of Eb major: Gm7 to
Cm7 ...
The resolution of the ii - V (Abm7 - Db9) wants to resolve to I, Gb(Maj7) ... instead Garner
resolves it to Gm7 ... (too cool), he is using the 3rd and -7th degree of Gm7 (Bb and F) ...
which is the 3rd. and maj 7th of Gb maj7 - kind of like a tri-tone sub. resolution ... purely
genius.
Bar 8:
F9 (V of key of C, or IV of C minor) - Bb7 (V of Eb) ... this measure can be treated as a secondary
ii-V dominant of Eb ... instead of Fm7-Bb7 ... treat the 4Fm7 as F7 to Bb7 ... as a II-V...
Bar 9:
Ebmaj7 Eb tonic key - A section resolved -- start of next A section ... (Bar 9 acts as bar 1 of 2nd A
section ...)
Bars 10 14 [2nd A]: same as bars 1 6
Bar 15 - 16:
Eb6 : I Tonic. Establishes home key resolution for complete melodic development of A section.
Bar 16 acts as a delayed extension of the resolution, linking a melodic passage to the B section.
Its called an Interlude.
B Section (Bridge) Ab Major New Tonality [Eb modulating to Ab]
Bar 17 & 18:
Bbm7 | Bbm7 Eb7b9 :
1) ii V7 Bar 17 acts as a delayed ii of the V7 turnaround in bar 18 to the sub-dominant
key of Ab Major in bar 18.
Bar 19:
AbMaj7 I of Ab major
Bar 20:
Same as bar 19.
Bar 21:
Am7 : bii of Ab the ii V7 of Ab is Bbm7 Eb7 a half step higher than Am7 (the V7 is implied
and delayed to next measure D7). Aural experience tells our ears to expect this Am7, which is
2
In case it helps, here's an analysis of the chord functions (as I see them).
3
|Ebmaj7 - - - | = I
|Bbm7 - Eb7 - | = ii/IV - V/IV, ie secondary chords (ii and V of Ab), "tonicising" (resolving to,
temporarily modulating to) the IV chord:
|Abmaj7 - - - | = IV
|Abm7 - Db7 - | = apparent ii-V in Gb major, but acting as iv - bVII in Eb: a "backdoor" progression,
resolving back to:
|Eb - Cm7 - |Fm7 - Bb7 - | = I-vi-ii-V
|G7 - C7 - |F7 - Bb7 - | = "backcycled" dominants; ie, each one the V of the following chord. This is
the "turnaround" leading back to Eb (which is why it doesn't happen 2nd time).
BRIDGE
|Bbm7 - - - | = ii/IV
|Bbm7 - Eb7 - | = ii-V of IV, as above.
|Ab - - - | = IV
|Am7 - - - |D7 - = ii-V in G major; half-step below first bars of bridge.
- F7 = V/V (secondary dominant of Bb)
|Bb7 = V
Edim7 = vii/ii (leading tone chord of Fm)
Fm7-Bb7 = ii-V in Eb.
Scales:
Ebmaj7 = Eb major
Bbm7-Eb7-Ab = Ab major
Abm7-Db7 = Gb major - although Db lydian dominant (7#11) might be better on the Db7.
Eb-Cm-Fm-Bb7 = Eb major
G7 = C major
C7 = F major
F7 = Bb major
Bb7 = Eb major
(IOW, mixolydian mode of each root; but lydian dominant could also work on any of these.)
Same for the chords in the bridge (with G major scale for Am7-D7).
There are many other fancier possibilities of course, such as alterations on some of the
dom7 chords, or substitutions of various kinds. But those are (IMO) the most
straightforward options.
Work from the melody and chord tones to begin with.