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Some interesting history and analysis. Did you know it was first recorded in the key of G?
The Girl From Ipanema is a far weirder song than you thought
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As a matter of fact, I did. Huge discussion in this thread already. But I like your title better.
https://forum.saxontheweb.net/showt...-Theory-Question-Re-Chords-and-their-Function
https://forum.saxontheweb.net/showt...-Theory-Question-Re-Chords-and-their-Function
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Yeah, but that thread only really concerned 10 seconds of a 30 min video...
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And many of the people commenting couldn't be bothered to even watch the video, just lots of ****posting.
Grafton + TH & C alto || Naked Lady 10M || TT soprano || Martin Comm III
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Unless I've totally missed the point, that thread was about the harmony of Girl From Ipanema in general. ie how chords fit against the key signature. (There was some vague reference to a video) but it was more about the basic functional harmony of the tune.
But the thread was titled "chords and their function" so it is extremely general.
I apologise, was I one of those responsible for ****posting??? Ouch! I didn't mean to.
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Well, for me, it was a first-class thread; it just focused more on one detail.
Adam Neely isn't to everyones taste.
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I liked that video a lot. The historical perspective was very informative.
But, singers put things in keys that sit in their natural range, so the Sinatra, and the Robeiro, Astrud, key signatures are rather unimportant, I think.
I also think that there is a huge difference in sound from F to Db tonality. I am a firm believer in the natural ability of sound to affect things ( people and matter) and I know there has been a lot of research on the way different pitches affect matter that seems to support that opinion.
Db has that "saudade", that Brazilian/ Portuguese soulful melancholy. F doesn't, for me. I'd like to think that is the source of Db from the composer.
I don't find the song to be as unusual as the narrator claims, though. There are a number of pretty straightforward ways to look at the harmony. For instance: the F6/C . The bassist plays the F. In the G6 chord, the melody carries the G, so in neither case is the supposed root omitted. Jobim plays only portions of the harmony, which is not at all unusual.
But, with 6th chords, we can always rename them as the relative minor chord. F6/C is Dm7, the relative minor of the F tonality. Nothing unusual about that at all.
But I enjoyed the in-depth history of the song. It is haunting when played with soul, or "saudade", and it was great to hear someone discuss it with some passion and knowledge.
But, singers put things in keys that sit in their natural range, so the Sinatra, and the Robeiro, Astrud, key signatures are rather unimportant, I think.
I also think that there is a huge difference in sound from F to Db tonality. I am a firm believer in the natural ability of sound to affect things ( people and matter) and I know there has been a lot of research on the way different pitches affect matter that seems to support that opinion.
Db has that "saudade", that Brazilian/ Portuguese soulful melancholy. F doesn't, for me. I'd like to think that is the source of Db from the composer.
I don't find the song to be as unusual as the narrator claims, though. There are a number of pretty straightforward ways to look at the harmony. For instance: the F6/C . The bassist plays the F. In the G6 chord, the melody carries the G, so in neither case is the supposed root omitted. Jobim plays only portions of the harmony, which is not at all unusual.
But, with 6th chords, we can always rename them as the relative minor chord. F6/C is Dm7, the relative minor of the F tonality. Nothing unusual about that at all.
But I enjoyed the in-depth history of the song. It is haunting when played with soul, or "saudade", and it was great to hear someone discuss it with some passion and knowledge.
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Very enjoyable vid; I learned a lot. Of course, I didn't know much about the subject to begin with, and my theory sucks. But I'll never hear "Ipanema" quite the same way again.
Can anyone provide another example of a "Backdoor II-V"?
Can anyone provide another example of a "Backdoor II-V"?
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Its when you get covid at a Jazz club sing along of Girl from Ipanema
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"Just Friends" is one of the more useful examples, and it's a tune that I almost always work on with my students (in multiple keys if possible). The chords in measures 3 through 5 make a classic "back door," with a minor iv chord leading to dominant bVII chord and resolving to I.
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Cool, thanks Heavy, I'm starting to get it now. Maybe in retirement I'll have time to take up jazz theory. It's fascinating stuff.
Tenor: Selmer Mark VI 127xxx, Yamaha YTS26. Clarinet: Selmer Signet 100
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What "****posting"? The op in that thread said nothing about Adam Neely...he asked a question about chords.
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Yes, definitely.
Astrud Gilberto and Stan Getz; live television broadcast from 1964:
Was this before equal temperament, though - where keys sounded noticeably different than today?
I've been having some fun watching Vinheteiro playing "depressing" or "terror" versions of classical and popular music, so I've been doing the same on my keyboard. I've tried various minor keys, but D harmonic minor is my favorite for this.
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The first 2 bars of Thelonious Monk's MONK'S MOOD is a good example. min iv to flat vii to I
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Bars 3-4-5 of Lady Bird
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