The harmonic analysis of a song is very important in understanding what are the various possibilities that make up a solo. We will now analyze a solo in depth.
Remember that the rhythmic division is swing: even if in the score the octaves are written normally, they must be intended as shuffle. Usually in these cases the following symbol is used in the score:
which indicates the obligation to play the octaves with the classical cadence of shuffle rhythm, which some call "jazz feel octaves" (when inherent to jazz), and others call "shuffle" (when inherent to blues).
In the first 8 bars of the song we find a succession of II°-V°, that we can verify in the Em7b5 - A7b9, Cm7 - F7 and Fm7 - Bb7 chords. These pairs of chords form the cadence of II°-V°, which don't conclude on the normal I°, as usual, but
they harmonically transport the melody in other ways.
Em7b5 - A7b9
The first two bars expose a II°-V° in minor that should correspond to the Dm scale.
The basic rule indicates the typical use of the m7b5 chord as II°. The presence of the A7 therefore implies the use of the minor harmonica scale of D, that allows the use of the C#, third step in the A7 chord in place of the C. You need to consider the fact that the cadence doesn't resolve, in the sense that it doesn't close on Dm, but modulates to Cm. You should therefore create a melodic bond between Em7b5-A7b9 and Cm-F7. Consequently, its best to use many scales. Remember the use of the shuffle division of the octaves. Lets return to the first two chords.
As you can see, the development of the notes in Em7b5 are inherent to the natural Dm scale. The sequence of notes is dictated by the personal taste of the author of the solo, and moves up one position. Look at the start, it has an ample descending fifth interval on the first two notes.
On the dominant A7b9 chord, the first harmonic substitution occurs. The triad of Eb in the second movement is the tri-tone of the A chord. This is derived from one of the more commonly used rules in the harmonization of a dominant chord, which gives you the possibility to play the triad on a chord placed one fourth above, and therefore exactly three tones from the base chord. In our case, you climb from A to Eb. The chromatic sequence between C and C# at the end of the bar serves to connect the A7b9 chord with the successive Cm7.
Cm7 - F7
On Cm7 the pentatonic of Cm comes into play, seen in its common fingering. The execution is reciprocated by a very simple choice of notes, that requires a string jump between the first and the second movements.
In the following F7 we find the F#, that implicates the presence of the ninth flat of F.
Fm7 - Bb7
On the Fm7 we begin with a sixteenth note chromatic sequence to continue on F dorian, taking back the octave rhythmic shuffle.
It's interesting to note that in the following Bb7, three of the four notes are out. In this case they harmonically reconnected to the substitution of the tritone, where the Bb replaces the triad of E.
Ebmaj7 - Ab7 - Bbmaj7
The first tonal resolution is found on the Ebmaj7 chord, that is intended as a lidian chord.
In fact, looking at the melodic line we find the A note, which is the 4th increase relative to the Eb chord, put deliberately in beat to specify the particular nature of the lidian scale used on this chord.
To finish the bar, a descending chromatic support to the C note of the following bar, where we find the Ab7 chord as the harmonic base.
Notice also how there is always a chromatic response, this time ascending, that goes to the F# note, seventh step minor of the chord.
Second tonal resolution, this time on Bbmaj7, intended as an ionic chord, where we find a typical blues sequence.
Em7b5 - A7b9 - Dm7 - Bbm7 - Eb7
We now find a II°-V°-I° minor (sequence Em7b5 - A7b9 - Dm7).
We use the minor harmonic scale (noted by the presence of the C#) of Dm.
The pattern present in the following bar is interesting. After a series of three arpeggios of the Bbm chord, the following semichrome sequence is based on the substitution of a tritone. In fact, the arpeggios of A7 (the tritone of Eb) are used on the Eb7 chord, in the second half of the bar. Pay attention to the fingering.
Fmaj7 - Em7b5 - A7b9 - Am7b5
The standard ionic method is used on the Fmaj7 chord. Notice the use of the fourth interval in the melodic line.
Another II°-V° minor, where the ninth flat of the A7b9 chord is emphasized, which is the Bb note.
In the next Am7b5 chord, the fifth flat (note Eb) is emphasized.
The analysis of the solo continues on the next page.
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