Jazz Tutorial: Creating an Artistic Interpretation of a Song with Piano. Someday My Prince Will Come – Pro LevelYou can check level 3 (Advanced level) in this post here: Jazz Tutorial: Advanced Arrangement of Someday My Prince Will Come

Jazz music is known for its improvisational nature and artistic interpretation of songs. In this tutorial, we’ll explore how to create an artistic interpretation of a song on the piano, using the example of a dreamy and impressionistic version of a jazz standard.

First, it’s important to adopt the perspective of an artist. Think of yourself as a painter, using colors and textures to create a unique version of the song. The piano has a wide range of dynamics and articulations that can be used to create a broad spectrum of sound.

In this version of the song, the intro is a departure from the original arrangement, but it still has elements of the original melody and harmony. The intro showcases the versatility of the piano, using sudden moments of loud and soft, and gradual crescendos and diminuendos.

To create an artistic interpretation of the song, it’s important to keep in mind the tools available to us, including the piano’s range and articulations. In the intro, we see a nice long legato run in measure 6, followed by a nice implementation of separated and detached staccato notes. There’s also a good illustration of subtle dynamics in the B/D7 chord in the second measure, which pops out of nowhere and fades into a softer dynamic in the Ebmaj7#11 chord.

Throughout the intro, we see examples of how the melody is present, even if it’s not super obvious. For example, the F note is the 5th of the F chord, and then it jumps up to an A# (Bb), the #11 of the F#/E7#11 chord. Then it jumps down to be the F#, the 3rd of the D7 chord. The melody is also present in the voicings of the chords, sometimes as the highest note and other times as an interior note.

One way to create an artistic interpretation of a song is to re-harmonize it. In this version, the only reharmonized chord is the F#/E7#11. One way to approach re-harmonization is to consider what chord tone the melody note could be, and plug that chord in.

Upper structures are also a great tool for creating new colors and textures in jazz music. In this version, we see examples of upper structure triads, upper structure quartals, and upper structure pentatonic voicings.

To create your own artistic interpretation of a song, experiment with different chords, voicings, dynamics, and articulations. Remember that the piano is a versatile instrument, and there are countless ways to paint your picture with sound.

In conclusion, creating an artistic interpretation of a song on the piano requires a perspective of an artist, a deep understanding of the piano’s range and articulations, and a willingness to experiment with different chords and voicings. Keep the melody in mind, even if it’s not super obvious, and use tools like reharmonization and upper structures to create new colors and textures. With these tools and techniques, you can create a unique and beautiful version of any song.

If you want access to all of these arrangements (Beginner’s • Intermediate • Advanced • Pro) you can download them here: Someday My Prince Will Come in 4 levels

Jazz Tutorial: Advanced Arrangement of Someday My Prince Will ComeYou can check level 2 (Intermediate level) in this post here: How to Play the Real Book: Level 2 Arrangement of “Some Day My Prince Will Come”

Someday My Prince Will Come is a classic jazz standard that has been recorded by numerous jazz musicians. In this tutorial, we will explore an advanced arrangement of this song and discuss some techniques that can be used to create more complex and interesting arrangements.

Before we get started, let’s talk about what to expect in this level 3 arrangement. We’ll be using techniques from the previous levels, such as embellishing the melody, enclosures, and broken chords on the left hand. However, we’ll also be introducing some new techniques like borrowing from the minor key, modal interchange chords, and a more advanced rhythmic grid.

Setting Up an Introduction

The first thing we’ll discuss is the introduction. The intro sets the tone for the entire song and is a great way to build tension and establish the key. In this arrangement, we’re using a dominant pedal point in the key of F to build tension. The dominant of our key is Bb, so we’re using the note F as a pedal point in the bass. This creates a clearly defined anchor for the listener and allows us to introduce chords that aren’t in the key, like the Db/F and C/F in the intro.

Borrowing from Minor

Another technique used in this arrangement is borrowing chords from the minor key. We can borrow chords from the parallel minor key to add a bit of color to the arrangement. For example, in the first line of the arrangement, we’re using the bVI chord from the Bb minor key, which is Dbmaj7.

Modal Interchange Chords

Modal interchange chords are another way to add color to your arrangement. These are chords that are borrowed from a parallel mode or key. In this arrangement, we’re using modal interchange chords to create an intro and outro. We’re using chords from the Bb Mixolydian mode to create an intro that leads us into the song. Then, in the outro, we’re using chords from the Bb Aeolian mode to create a sense of resolution.

Advanced Rhythmic Grid

The rhythmic grid is another important aspect of this arrangement. We’re using an eighth-note subdivision to define our grid, which creates a more complex and interesting rhythmic feel. The left hand is also filling in the spaces offered up by the right hand, which creates a more clearly defined bass line.

Upper Structure Chords

Finally, we’re using upper structure chords in this arrangement. Upper structure chords are chords that are built on top of a basic triad or seventh chord. They allow us to highlight tensions within the chord and create a unique and interesting voicing. In this arrangement, we’re using a D/F7 chord as an upper structure chord in the intro.

Conclusion

In this tutorial, we’ve explored an advanced arrangement of Someday My Prince Will Come and discussed some techniques that can be used to create more complex and interesting arrangements. By borrowing chords from the minor key, using modal interchange chords, and creating a more advanced rhythmic grid, we can create an arrangement that is both sophisticated and accessible. We hope this tutorial has given you some ideas and inspiration for your own arrangements. If you’re interested in learning more about jazz theory and improvisation, be sure to check out mDecks Music‘s other resources.

If you want access to all of these arrangements (Beginner’s • Intermediate • Advanced • Pro) you can download them here: Someday My Prince Will Come in 4 levels

You can read the next level jazz tutorial (Pro Level) of Someday My Prince Will Come here:Jazz Tutorial: Creating an Artistic Interpretation of a Song with Piano. Someday My Prince Will Come – Pro Level

How to Play the Real Book: Level 2 Arrangement of “Some Day My Prince Will Come”You can check level 1 (Beginner’s level) in this post Interpreting Lead Sheets: How to Bring the Music to Life. Someday My Prince Will Come – Beginner’s Level

If you’re interested in learning how to play “Some Day My Prince Will Come,” you’re in the right place! In this tutorial, we will be discussing the level two arrangement of this classic tune from the Real Book. We will also be going over some basic music theory concepts, such as chord voicings and rhythmic grids.

Before we dive into the level two arrangement, take a moment to listen to all four levels of the song back to back. This will give you an idea of how the arrangement progresses from level one to level four.

Now, let’s dive into the level two arrangement. This arrangement builds on the concepts introduced in level one, such as playing chords and the melody pretty much as is, using closed voicings on the left hand, and considering seven chords as our default setting. However, there are some new concepts introduced, such as an increase in the grid complexity and the implementation of rootless voicings.

One of the biggest departures from level one is the increase in rhythmic grid complexity. This is achieved by breaking the chords on the left hand, which fills in the gaps where the melody was not playing on two, and gives us a more continuous pulse. This also gives us a more clearly defined baseline.

In measures 4, 5, and 6, we implement rootless voicings. In measure 4, we omit the root on the left-hand voicing, but it’s still going to land to the ear as if it were there because it’s present in the melody. In measures 5 and 6, we use a more literal interpretation of what a rootless voicing is, by replacing the root with the 9th and completely getting rid of the root in a G7#5 chord.

In the next eight-measure phrase, we omit the left hand on the downbeat of each measure and let the right hand take control over illustrating where the beat is. This makes the rhythmic grid more defined, and there’s more than one way to achieve that. In measures 16 through 18, we introduce the right hand as an idea to fill in the spaces of our rhythmic grid.

We hope this tutorial helps you learn how to play the level two arrangement of “Some Day My Prince Will Come.” To access the arrangements visit mdecks.com

Interpreting Lead Sheets: How to Bring the Music to Life. Someday My Prince Will Come – Beginner’s LevelAre you tired of playing music from the Real Book that sounds robotic and lifeless? Do you want to make your music more engaging and expressive? If so, you need to learn how to interpret lead sheets.

In this video, we’ll take a deep dive into the Real Book and show you how to make the most out of its lead sheets. We’ll start by explaining why you shouldn’t take the lead sheets too literally. Instead, you need to think of them as a sort of impressionistic painting of the song. There’s a lot of context that is either implied or missing altogether, not to mention all the mistakes that can be found within the Real Book. Therefore, it’s up to you to provide context and make deliberate musical choices.

The fact that lead sheets aren’t dedicated to a specific instrument speaks to how much context is missing and how important it is for the player to provide this context. When you stop looking at the Real Book’s lead sheets as literal depictions of the songs, you’ll begin to make choices that make the music come alive.

But where do you start? In the video, we provide a literal interpretation of the lead sheet for the song “Someday My Prince Will Come.” We play everything in root position, which creates something that is both physically demanding and void of voice leading. Playing the melody in such a literal and simplified way does not do the music justice.

Instead, we show you a few simple and easy-to-implement techniques to make the music sound better. On the left hand, in level 1, we merely play each chord on the downbeat of each measure, using a combination of root position, inversions, and rootless voicings. This creates smoother voice leading and more musicality. We use inversions to create smooth voice leading and make it easier to play. We also implement rootless voicings, which are a common technique used in these standards.

We provide examples of how we use these techniques throughout the song. For instance, we use an inversion on a G7#5 chord in the fourth measure. This creates smoother voice leading from the Ebmaj7 to the G7#5 and makes it easier to play. We also use rootless voicings on Cm7 chords to create smoother voice leading and more musicality. In measure 8, we use an inversion on an F7 chord to lead nicely away from the C7 we came from and create a physically easier-to-execute movement.

In addition to these techniques, we also show you how to use rhythmic displacement to make the music sound better. We use a simple rhythmic displacement technique in measure 18, which displaces the melody slightly later than it was originally intended to be. We also use a dotted quarter-note rhythm in measure 19 to anticipate the melodic note.

By the end of the video, you’ll have a better understanding of how to interpret lead sheets and make the music come alive. You’ll know how to use inversions and rootless voicings to create smoother voice leading and make it easier to play. You’ll also know how to use rhythmic displacement to make the music more engaging and expressive.

If you want access to all of these arrangements (Beginner’s • Intermediate • Advanced • Pro) you can download them here: Someday My Prince Will Come in 4 levels

Part 2: Intermediate level on how to play Some Day My Prince Will Come from the Real Book is here: How to Play the Real Book: Level 2 Arrangement of “Some Day My Prince Will Come”

Promoting Shows and Engaging Fans with BandsintownWith 560,000 registered artists, Bandsintown is one of the largest artist services platforms in the world. 97% of the Top 500 artists in America are active on the platform.

Mastering Jazz Harmony: The Ultimate Exercise to Practice Target NotesAre you looking for an effective exercise to improve your understanding of jazz harmony and sharpen your improvisational skills? Look no further! In today’s video, we’ll explore the best exercise to practice target notes, a fundamental concept in jazz that can transform your playing.

Watch the entire lesson in video format (from the mDecks Music YouTube Channel)

The exercise consists of two steps: chord-tones and guide-tone lines. Let’s take a closer look at each one.

Step One: Chord-tones

Chord-tones are the notes that make up a chord, including the root, 3rd, 5th, and 7th (or 6th). By focusing on a single chord-tone and playing it over the entire tune, you’ll gain insight into the harmonic progression from a more linear perspective.

For example, if you choose to work on the 3rd of the chord, you would play the major third (E) over a Cmaj7, but over Cm7 you’d have to play Eb (the minor 3rd), and for a C7sus4 you’d have to play an F (the sus4). By doing this exercise for all chord-tones, you’ll memorize tunes and internalize chord progressions more deeply.

Step Two: Guide-tone lines

If you know your chord-tones well, you can move on to the more advanced step of guide-tone lines. Guide-tones are the 3rd (or the 4th in a sus4 chord) and the 7th (or the 6th in sixth chords). By creating a line that goes from guide-tone to guide-tone across the entire tune, you’ll trace the harmonic progression in the most effective way possible.

A good guide-tone line reveals the secrets behind the chord progression and offers the best picture of what a tune’s harmony is all about. By learning how to walk these guide-tones, you’ll improve your improvisational skills and train your ear like no other exercise.

To illustrate this, we’ll take a 2-5-1 progression (Dm7 – G7 – Cmaj7) and trace the guide-tones. The smoothest lines are F F E, and C B B. These two lines are tracing the 2-5-1 in a way that reveals what a 2-5-1 progression is all about.

By practicing both chord-tones and guide-tone lines, you’ll develop a deep understanding of jazz harmony and be able to improvise with greater fluency and ease. And if you want to take your practice further, check out our collection of Jazz Standards from the real book, all laid out for you with chord-tones, tensions, and lines. Visit our website mDecks.com for more information and to access a PDF with all the steps applied to “Alice in Wonderland”.

BTW, you can get the entire jazz standard repertoire with chord-tones, guide-tones lines and tensions on the mDecks website: The Target Notes Jazz Book

In conclusion, the exercise we shared with you today is a must-try for any jazz musician looking to take their playing to the next level. With consistent practice, you’ll master target notes and unlock the secrets of jazz harmony. Happy practicing!

Master Bebop Improvisation with ‘Bebop Lines You Should Know’Are you a jazz musician looking to take your improvisation skills to the next level? Look no further than “Bebop Lines You Should Know,” the must-have book for anyone serious about mastering the art of bebop improvisation.

Bebop is more than just a style of music – it’s a language, and this book covers everything you need to know to become fluent. From essential phrases to advanced concepts like Chromatic Approaches and Enclosures, you’ll learn the idiomatic patterns that define the genre.

The book features a carefully curated collection of bebop lines from legendary artists like Bud Powell, Kenny Barron, Wynton Kelly, and Bill Evans. With all workouts provided in every key, you’ll be able to internalize these lines and practice improvisation like a pro.

But that’s not all – “Bebop Lines You Should Know” also includes video lessons covering the basics of bebop improvisation, play-along backing tracks, and demos with the bebop lines performed on piano over the same backing track. You’ll be able to practice and perfect your improvisation skills in a variety of contexts, ensuring that you’re ready to perform in any situation.

Line #21 with variations based on a Bill Evans line over 8 measures.

To take your practice to the next level, the book includes a Mapping Tonal Harmony Pro XML file with progressions from the bebop lines, including classic tunes like My Foolish Heart and Misty. With this file, you can practice at different tempos, mute tracks, and/or change accompaniment styles. And if you don’t already have Mapping Tonal Harmony Pro, you can learn more about it and download it to get started.

Whether you’re a beginner or an experienced musician, “Bebop Lines You Should Know” is an indispensable tool for mastering bebop improvisation. So don’t wait – order your copy today and start your journey towards becoming a true bebop master!

Available for C, Bb and Eb Instruments. Download it today on mDecks.com

Mapping Tonal Harmony Pro CrashesThis is a list of crashes and issues in Mapping Tonal Harmony Pro 9 and how to solve them in different devices.

The app crashes when I hit play (or it sounds weird when playing backing tracks)

Solution. Check that the A.I. players range makes sense. Open the players menu and change the player to reset the voicings range. Then save the performance (on macOS just click on the SAVE button on the top menu, on iOS tap on the “box with an arrow”

Streaming, AI, Royalty Breakdown and Sync (Ari Q&A Part 4)This week Ari answers more of your questions! If you’d like to submit to our next round of questions, please sign up to our email list: www.aristake.com

Theo Katzman (of Vulfpeck) on Recording, Songwriting and Staying IndependentTo celebrate the third edition of How to Make It In The New Music Business, the Ari’s Take team collaborated with Shuttershot Productions to capture Ari Herstand’s special interview and Q&A with the incomparable Theo Katzman (of Vulfpeck). This episode was recorded live at The Grove’s Barnes & Noble in Los Angeles on January 17th.

Spotify Opens Up ‘Discovery Mode’ Wide Enabling Artists To Get More Listeners and Streams – For a CostDiscovery Mode is basically a program where Spotify will help get you more listeners by inserting your songs into other artists’ radio stations and general “autoplay” sessions - for an additional commission. More on the commission part in a minute. 

Artists Made $100,000,000 in Sales on Their WebsiteNow of course you’re wondering if in 2023 you need a website when you’ve got Instagram, Spotify, Facebook and TikTok.

The short answer is yes. Yes, you absolutely need a website in 2023.

Succeeding on Twitch as a MusicianDanielle Allard is a singer-songwriter, multi-instrumentalist and Twitch Partner.

Webinar: "Breathing life into your mixes using Dynamic Panning" by #SoundParticles.
#spatialaudio #Mixing #SoundDesign #Production

Music Analysis Showdown: Mapping Tonal Harmony Pro vs ChatGPT

We compare and analyze Mapping Tonal Harmony Pro and ChatGPT‘s abilities in music theory and technology. We demonstrate how each tool can be used to understand harmonic progressions in jazz and compare their accuracy, speed, and ease of use. This video is perfect for musicians, composers, and music educators looking to enhance their understanding of music harmony. Let’s dive in and see what these tools have to offer!

We ask ChatGPT to do a roman numeral harmonic analysis of the jazz standard “All Of Me”

We started with a text version of the song and fed it into Mapping Tonal Harmony Pro’s Analyzer:

|Cmaj7 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – ||E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||Cmaj7 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – ||Fmaj7 – – – | Fm6 – – – | Em7 – – – | A7b9 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

Here’s what we got with the Analyzer in Mapping Tonal Harmony Pro:

And here’s our conversation with ChatGPT:

What is Mapping Tonal Harmony Pro?

Mapping Tonal Harmony Pro is a music theory software that helps users learn and understand the principles of tonal harmony in a graphical and interactive way. The program provides a visual representation of harmonic structures, including chord progressions, voice leading, and cadences, among other features. It is designed for music students, composers, and educators as a tool to enhance their understanding of traditional harmony and composition.

How does the map in Mapping Tonal Harmony Pro work?

The map in Mapping Tonal Harmony Pro is a visual representation of tonal harmony that helps users understand and analyze harmonic structures in music. It displays a series of interconnected circles and arrows, each representing a different chord, progression, or relationship between chords. The map is interactive, allowing users to see the connections between different chords and progressions and how they function within a tonal context. By exploring the map, users can gain a deeper understanding of traditional harmony and how it informs the structure and design of musical compositions.

Here’s the harmonic progression for All Of Me|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |Can you give me a full harmonic analysis of the song?

A full harmonic analysis of a song involves analyzing its chord progression, tonality, key, and function of each chord. It can be quite in-depth and detailed, and typically requires a comprehensive understanding of music theory. However, I can provide you with some basic information on the chords you listed:

The chords in the progression are primarily dominant 7th chords, with the exception of C6, F6, Fm6, Cmaj7, Em7b5/Bb, and Dm7.The tonality of the song is predominantly minor, as indicated by the use of the dominant 7th chords and the presence of the minor 7th chords (Dm7, Am7).The key of the song is not explicitly specified, but the chords suggest it is in a minor key.The function of each chord in the progression helps to create a sense of tension and resolution. For example, the dominant 7th chords create tension, while the resolution is achieved through the use of the more stable minor 7th chords.

Keep in mind, this is just a basic analysis and does not cover all aspects of the song’s harmony. A more comprehensive analysis would require a deeper understanding of the theory behind the chord progression and the relationships between the chords.

Try creating a harmonic analysis of the following progression:|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – |

| Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

This chord progression is from the jazz standard “All of Me” and is a good example of a ii-V-I progression in a minor key.

The progression starts with a C6 chord, which serves as a tonic chord, establishing the key of the song.The E7b9 chord is a dominant chord resolving to the A7b9 chord, which is also a dominant chord. These chords form a ii-V progression in the key of A minor.The Dm7 chord is a tonic chord in A minor and the progression moves back to a ii-V progression with the E7b9 and A7b9 chords.The Am7 chord is a tonic chord in A minor and the progression moves to a ii-V-I progression with the D7, Dm7, and G7 chords. This progression is in the key of G minor.The progression continues with a similar pattern, with ii-V-I progressions moving through various keys, and eventually resolving back to the tonic chord, C6.

The progression makes use of altered chords, such as E7b9, A7b9, and Em7b5/Bb, to add a chromatic and dissonant element to the harmony. The F6 and Fm6 chords also provide some harmonic interest, as they are not typically found in a ii-V-I progression.

Show me the roman numerals analysis of:|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

This chord progression can be analyzed using roman numerals as follows:

|C6 – – – | – – – – | E7b9 – – – | – – – – ||I – – – | – – – – | IV7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – ||V7b9 – – – | – – – – | ii7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || IV7b9 – – – | – – – – | ii7 – – – | – – – – || D7 – – – | Dm7 – – – | G7 – – – ||V7 – ii7 – | V7 – I – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || IV – ii°7/IV – | III°7 – V7/ii – | ii7 – V7 – || C6 – Ebo7 – | Dm7 – G7 – ||I – III°7 – | ii7 – V7 – |

In this analysis, the chords are labeled with their corresponding roman numeral based on their function in the key. Upper case numerals are used for major and dominant chords, while lower case numerals are used for minor chords. The 7b9 and 7°5 chords add additional chromaticism to the harmony.

That’s not the correct analysis. Are you aware of secondary dominants, and how to label them?

Yes, I am aware of secondary dominants. In tonal music theory, a secondary dominant is a dominant chord (typically V7) that leads to a chord other than the tonic (I). This can add additional harmonic tension and instability, which can be resolved by resolving to the target chord.

In the chord progression you provided:

|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

The secondary dominants can be indicated by labeling the chords with their corresponding roman numerals, followed by a slash and the chord they are resolving to:

|C6 – – – | – – – – | E7b9 – – – | – – – – ||I – – – | – – – – | V7/IV – – – | – – – – || A7b9 – – – | – – – – | ii7 – – – | – – – – ||V7/IV – – – | – – – – | IV7 – – – | – – – – || E7b9 – – – | – – – – | ii7 – – – | – – – – || V7/IV – – – | – – – – | ii7 – – – | – – – – || D7 – – – | ii7 – – – | V7 – – – ||V7 – ii7 – | V7 – I – || F6 – – – | ii°7/IV – | IV – V7/ii – | ii7 – V7 – || I – ii°7 – | IV – V7 – | ii7 – V7 – |

In the key of C major, E7b9 is not the V7/IV. What is it?

In the key of C Major, E7b9 is not the V7/IV. It is an altered dominant chord, most likely functioning as a secondary dominant, resolving to the tonic of the ii chord (Am7) or as a chord substitution for the V7 chord (B7). Its function can be determined by the context of the progression and the melody.

But the Am7 is not the ii chord in the key of C major. Do you know what it is?

My apologies, you are correct. Am7 is not the ii chord in the key of C Major. It is the vi chord, often functioning as the tonic of a vi-ii-V-I progression in C Major.

That’s closer. But the Am7 is not the tonic if it is the vi chord. It is just a good substitution for the tonic. Do you know what a chord substitution is?

Yes, I am aware of chord substitutions. A chord substitution is a chord that is used in place of another chord in a chord progression to create a different sound or to better support the melody. In this case, Am7 is being used as a substitution for the tonic chord (C Major) in a vi-ii-V-I progression in the key of C Major.

Very good. So what’s E7b9 in the key of C major?

In the key of C Major, E7b9 is an altered dominant chord, typically functioning as a secondary dominant, resolving to the tonic of the ii chord (Am7) or as a chord substitution for the V7 chord (B7). The b9 added to the dominant E7 chord creates a sound of tension, which is then resolved by the following chord.

That’s wrong! Listen, the E7b9 is the V7b9/vi. E7b9 is the V7 of the Am. And Am is the vi of C. So E7b9 is a secondary dominant that resolves to Am, the vi in the key of C major. Am is acting as a tonic chord, substituting the C, which is the I, the tonic.

I apologize, you are correct. The E7b9 is indeed the V7b9/vi, which functions as a secondary dominant of the vi chord (Am7) in the key of C Major. Thank you for correcting me.

So what is E7b9 in the key of C major

In the key of C Major, E7b9 is a secondary dominant chord, also known as V7b9/vi, which functions as a chord substitution for the V7 chord (B7) in the progression. It resolves to the vi chord (Am7) acting as the tonic, substituting the I chord (C Major). The added b9 to the E7 chord creates a sound of tension, which is then resolved by the following chord.

Much better! But you got something wrong: E7b9 is not a chord substitution for the V7 (B7). It is a secondary dominant. The V/vi.

I apologize, you are correct. E7b9 is a secondary dominant chord, not a substitution for the V7 chord (B7) in the key of C Major. It is the V7b9/vi and serves to temporarily tonicize the vi chord (Am7) before resolving back to the I chord (C Major). Thank you for pointing this out.

Now, what is an E7b9 in the key of C major?

In the key of C major, the E7b9 chord is a secondary dominant, also known as V7b9/vi, meaning the dominant 7th chord built on the fifth degree of the vi chord (Am in this case). It creates tension and leads the listener’s ear towards the resolution to the vi chord (Am).

Very good. So what is the roman numerals analysis of this progression:|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

The roman numerals analysis of the progression is:

|I6 – – – | – – – – | V7b9/vi – – – | – – – – || vi7b9 – – – | – – – – | ii7 – – – | – – – – || V7b9/vi – – – | – – – – | vi – – – | – – – – || IV7 – – – | – – – – | ii7 – – – | V7 – – – ||I6 – – – | – – – – | V7b9/vi – – – | – – – – || vi7b9 – – – | – – – – | ii7 – – – | – – – – || bIII6 – bIII7 – | IVm7 – bII7/IV – | I – ii7b5/IV – | V7 – – – || ii7 – V7 – | I6 – V7/IV – | ii7 – V7 – |

That’s better. But now, the A7b9 in measure 5 is not a vi7b9. There’s no such chord. A7b9 is another secondary dominant. It is the V7/ii

I apologize, you are correct. The roman numeral analysis of the progression would be:

|C6 – – – | – – – – | V7b9/vi – – – | – – – – || V7b9/ii – – – | – – – – | ii – – – | – – – – || V7b9/vi – – – | – – – – | vi – – – | – – – – || IV7 – – – | – – – – | ii – – – | V7 – – – ||C6 – – – | – – – – | V7b9/vi – – – | – – – – || V7b9/ii – – – | – – – – | ii – – – | – – – – || iii – iii° | vi° – – – | I – ii°7/bV – | V7 – – – || ii – V7 – | V7 – – – | I – V7/ii – | ii – V7 – |

Way better. But the D7 in measure 13 is not a IV7. A IV chord in C major is F not D, and although the IV7 exists in Blues progressions, that’s the wrong answer, because D is the ii in the key of C major. But a ii chord is minor, and this is a D7, which is a dominant chord. So your best bet is to think of it as a secondary dominant. So if the D7 is a secondary dominant, how would you write it using roman numerals?

The D7 in measure 13 can be written as V7/V.

Excellent! So what is the roman numerals analysis for the following progression:|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

SOMETHING WENT WRONG….

What is the roman numeral analysis of the following harmonic progression:|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

The roman numeral analysis of the progression is:| VI7b9 – – – | – – – – | II7b9 – – – | – – – – || IV7b9 – – – | – – – – | iiø7 – – – | – – – – || II7b9 – – – | – – – – | viø7 – – – | – – – – || V7 – – – | – – – – | iiø7 – V7 – | I6 – – – || VI7b9 – – – | – – – – | II7b9 – – – | – – – – || IV7b9 – – – | – – – – | iiø7 – – – | – – – – || III6 – iii6 – | I7 – viiø5/V – | IVmaj7 – vi7b5/II – | III7 – – – || iiø7 – V7 – | I6 – V7b9 – | iii6 – V7 – | iiø7 – V7 – |

What’s going on? That’s completely wrong. Have you forgotten everything I told you? Can you try again?

My apologies, let me try again. Here’s the corrected roman numeral analysis of the progression:| VI7b9 – – – | – – – – | II7b9 – – – | – – – – || IV7b9 – – – | – – – – | iiø7 – – – | – – – – || II7b9 – – – | – – – – | viø7 – – – | – – – – || V7 – – – | – – – – | iiø7 – V7 – | I6 – – – || VI7b9 – – – | – – – – | II7b9 – – – | – – – – || IV7b9 – – – | – – – – | iiø7 – – – | – – – – || III6 – iii6 – | I7 – viiø5/V – | IVmaj7 – vi7b5/ii – | III7 – – – || iiø7 – V7 – | I6 – V7b9 – | iii6 – V7 – | iiø7 – V7 – |

Hold on! This is in the key of C major. The first chord is a C6 which is a I chord, the tonic. Do you know what a tonic is?

Yes, I am aware of what a tonic is. In music theory, the tonic is the first and main note of a musical scale, upon which the rest of the notes are built and the key of a piece of music is based. My apologies for the oversight. Here’s the corrected roman numeral analysis in the key of C Major:| I6 – – – | – – – – | IV7b9 – – – | – – – – || VII7b9 – – – | – – – – | iiiø7 – – – | – – – – || IV7b9 – – – | – – – – | viiø7 – – – | – – – – || III7 – – – | – – – – | iiiø7 – III7 – | I6 – – – || I6 – – – | – – – – | IV7b9 – – – | – – – – || VII7b9 – – – | – – – – | iiiø7 – – – | – – – – || II6 – ii6 – | I7 – viø5/V – | IVmaj7 – vi7b5/ii – | III7 – – – || iiiø7 – III7 – | I6 – III7b9 – | ii6 – III7 – | iiiø7 – III7 – |

Ok. but now you forgot that E7b9 can’t be the IV7b9 in the key of C major. It’s a secondary dominant. Do you remember that?

Yes, I apologize for the mistake. E7b9 cannot be a IV7b9 chord in the key of C Major, as you correctly pointed out. E7b9 is a secondary dominant chord, which means it temporarily tonicizes another chord other than the tonic. Here’s the corrected roman numeral analysis with the secondary dominant indicated:| I6 – – – | – – – – | V7/IV – – – | – – – – || V7/VII – – – | – – – – | iiiø7 – – – | – – – – || V7/IV – – – | – – – – | viiø7 – – – | – – – – || III7 – – – | – – – – | iiiø7 – III7 – | I6 – – – || I6 – – – | – – – – | V7/IV – – – | – – – – || V7/VII – – – | – – – – | iiiø7 – – – | – – – – || II6 – ii6 – | I7 – viø5/V – | IVmaj7 – vi7b5/ii – | III7 – – – || iiiø7 – III7 – | I6 – III7b9 – | ii6 – III7 – | iiiø7 – III7 – |

OMG! You’re never going to pass the harmony test. Listen, the E7b9 is a secondary dominant, that’s correct. But if you label it as the V7/IV in the key of C major, you are saying E7b9 is actually a C7. The IV in C is F, the V7/IV is C7. The E7b9 is not the V7/IV but the V7/vi. Do you understand that?

Yes, I understand now. My apologies for the confusion. The correct labeling for the E7b9 chord would be V7/vi, not V7/IV, as it is tonicizing the vi chord, which in

Are you just repeating what I’ve just said, or do you really understand the concept?

I apologize for any confusion. Yes, I understand the concept. The E7b9 chord is a secondary dominant that tonicizes the vi chord (Am7), so it should be labeled as V7/vi. Thank you for explaining it to me.

So, what is a D7 in the key of Bb major?

In the key of Bb Major, a D7 chord would be labeled as the V7 chord, as it is built on the fifth scale degree and serves as the dominant chord resolving to the tonic chord (Bb).

What? NO! In Bb major D7 is also the V7/vi. Gm is the vi in Bb major. D7 is a secondary dominant.

I apologize for the mistake. You are correct, in the key of Bb Major, the D7 chord is a secondary dominant, resolving to the vi chord (Gm), and therefore it should be labeled as the V7/vi. Thank you for correcting me.

OK, what is F7 in the key of Db major?

In the key of Db Major, an F7 chord would be the III7 chord, as it is built on the third scale degree and serves as the mediant chord resolving to the tonic chord (Db).

NOOOO! The III7 is a very weird chord! F7 is most probably a secondary dominant. So which one is it?

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