Chick Corea's Spain Analysis

Chick Corea's Spain Analysis

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Thread: Chick Corea's Spain Analysis Thread Tools

#1

July 21st, 2008, 07:12 PM jpuma13 Registered User Join Date: Jul 2008 Location: Montevideo, Uruguay Posts: 8

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Chick Corea's Spain Analysis Hi guys, this is my first post.. i hope i don't a make a fool of myself. I've recently started to study some jazz theory by myself and I learned how to play Spain but I'm having problems trying to solo over it. I guess most of you know the progression but it goes: |GM7| |F#7| |Em7| |A7| |DM7| |GM7| |C#7| |F#7| |Bm| |B7| After seeing how the melody goes with those chords I concluded that the scales being played over them are the following: G lydian over GM7 F# mixolydian over F#7 E dorian over Em7 A mixolydian over A7 D ionian over DM7 C# phyrigian over C#7 ( I find this weird but the notes being played are C#, D, E, G, Bb which I think belongs to C# pyrigian) B dorian or aeolian over Bm B ionian over B7 (I don't like this too much either but the notes being played are A#, B, D#, E, F#...I thought it should be B mixolydian over B7) Well, I hope I'm not too far off with this analysis, it's my

25/09/2014 12:17 p.m.


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first! lol I just hope you guys can help me find any mistakes I made or tell me about other options that can be used in the progression. If you need any more information about the melody please tell me and I'll gladly add it. Thanks, bye! Reply With Quote

#2

July 21st, 2008, 07:44 PM Vic J Registered User Join Date: Oct 2007 Posts: 2,548

Its a good analysis but do you really want to play all those scales.....Start by playing off the melody....The whole tune is really off a D scale anyway....Learn the shout chorus and don't forget to check out the Rodrigo intro....Perhaps a little Tia Maria.......JPUMA...Is that for my old friend Joe Puma.....Joe was one of the greats and a funnier MOFO you shall never meet......OLE OLE OY Vey>>>>>Great work.....Enjoy the music, always!!!!!! Reply With Quote

#3

July 21st, 2008, 08:57 PM engelbach Piano/Compose/Arrange

Originally Posted by jpuma13

Hi guys, this is my first post.. i hope i don't a make a fool of myself. I guess most of you know the progression but it goes: |GM7| |F#7| |Em7| |A7| |DM7| |GM7| |C#7| |F#7| |Bm| |B7|

Welcome, jpuma! Join Date: Location: Michoacán, Posts:

Dec 2005 Pátzcuaro, México 7,678

The only fools are the ones who don't ask questions and think they know it all. (That's all the sage that's in me today.) You give too much credit. I'm sure most of us don't know the progression in Spain. Beautiful and admired as the tune is (including by me), I doubt that it's in the repertoire of most jazz musicians. Have you listened to how Chick plays it? He solos very chromatically, hitting important notes in the harmony to remind us where he is. I agree with Vic that the tune goes by much too fast for you to get hung up on changing pitch collections for every chord. The melody is almost entirely within the bounds of D major and B minor. Play the key, not the chord. If there are notes in the chord not in the key, substitute those notes for the notes in the key. For example, I don't agree with F#7 mixolydian, because I don't hear G# belonging in the scale. I hear this pitch collection: F#-G-(A)A#-C#-D-E, which is a D scale with an A# (Bb) instead of a B. Much simpler. Cheers, Jer

Jerry Engelbach, piano/arrange/compose

25/09/2014 12:17 p.m.


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Engelbach Music Weaver of Dreams Artwork Reply With Quote

#4

July 21st, 2008, 09:26 PM jpuma13

thanks!

Registered User Join Date: Jul 2008 Location: Montevideo, Uruguay Posts: 8

OMG, thank you so much Vic J and Engelbach! I got so caught up on playing with the changes that I couldn't see that it was really all D major. What a relief! I spent the whole weekend trying to improvise with those scales but I couldn't keep up with the song.. Now I tried and improvised playing D major and it sounds the way I hoped it would and it's so much easier! And about jpuma, it's really because my name is José Luis Rodriguez and a latin American singer has the same name and they call him Puma. However, I did find out about Joe Puma and he's great! and we share the same name, Joe is Jose in Spanish. lol Well, thanks again, you guys are great! Reply With Quote

#5

July 21st, 2008, 10:21 PM EdByrne Jazz Artist, Author

Yeah, that's great advice from Jer and Vic. (beers all around).

Join Date: Sep 2005 Location: Western MA Posts: 6,939

Linear Jazz Improvisation Web Site Ed's Myspace Reply With Quote

#6

July 22nd, 2008, 07:05 AM engelbach Piano/Compose/Arrange

It's a pleasure, José. It's not easy to solo on this tune, because you want to keep the Spanish flavor. Ed: Thanks for the (imaginary) cervezas. Cheers, Jer

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Jerry Engelbach, piano/arrange/compose Engelbach Music Weaver of Dreams Artwork Reply With Quote

25/09/2014 12:17 p.m.


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#7

July 22nd, 2008, 08:35 AM JonR

Originally Posted by jpuma13

Registered User

OMG, thank you so much Vic J and Engelbach! I got so caught up on playing with the changes that I couldn't see that it was really all D major.

Join Date: Sep 2007 Posts: 402

What a relief! I spent the whole weekend trying to improvise with those scales but I couldn't keep up with the song.. Now I tried and improvised playing D major and it sounds the way I hoped it would and it's so much easier! And about jpuma, it's really because my name is José Luis Rodriguez and a latin American singer has the same name and they call him Puma. However, I did find out about Joe Puma and he's great! and we share the same name, Joe is Jose in Spanish. lol Well, thanks again, you guys are great!

I can't improve on Jerry's advice, but I thought I'd point out what seems to be the "elephant in the room" here: B minor! The central section is certainly D major, but it seems to be bookended by B minor changes. (On the live versions I've seen, he spends a lot of time on ad lib intros with a definite B minor centre.) Gmaj7-F#7 is a bVI-V in B minor. (And B harmonic minor seems to work well on the F#7, as well as the pitch collection Jerry mentioned.) Then it moves to a standard ii-V-I-IV in D major (relative major). Then the C#7, which is V of F#7, itself V of the following Bm. The C#7 includes a G bass as well as D and E natural in the melody, so this is an altered chord - more like G7#11 in fact. That implies D melodic minor (C# altered = G lydian dominant) - at least the pitch collection C# D E F G B suits both C#7(b5) and G7(#11). Optional whether you add A or A# as a 7th note if you want one. But that's the only chord (IMO) that diverges much from the overall B minor/D major tonality. In a sense, the C#7-F#7 pair is an altered repeat of the initial Gmaj7-F#7 pair (the F#7 also has a #9, with a b13 in the melody). This time it resolves to Bm as expected - although finishing on B major (tierce de picardy?). Reply With Quote

July 22nd, 2008, 08:57 AM

#8

engelbach Piano/Compose/Arrange

Join Date: Location: Michoacán, Posts:


25/09/2014 12:17 p.m.


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Originally Posted by JonR

I can't improve on Jerry's advice, but I thought I'd point out what seems to be the "elephant in the room" here: B minor! The central section is certainly D major, but it seems to be bookended by B minor changes. (On the live versions I've seen, he spends a lot of time on ad lib intros with a definite B minor centre.) Gmaj7-F#7 is a bVI-V in B minor. (And B harmonic minor seems to work well on the F#7, as well as the pitch collection Jerry mentioned.) Then it moves to a standard ii-V-I-IV in D major (relative major). Then the C#7, which is V of F#7, itself V of the following Bm. The C#7 includes a G bass as well as D and E natural in the melody, so this is an altered chord - more like G7#11 in fact. That implies D melodic minor (C# altered = G lydian dominant) - at least the pitch collection C# D E F G B suits both C#7(b5) and G7(#11). Optional whether you add A or A# as a 7th note if you want one. But that's the only chord (IMO) that diverges much from the overall B minor/D major tonality. In a sense, the C#7-F#7 pair is an altered repeat of the initial Gmaj7-F#7 pair (the F#7 also has a #9, with a b13 in the melody). This time it resolves to Bm as expected - although finishing on B major (tierce de picardy?).

I agree about the overall B minor feeling. Using the G and D major chords as temporary relief while keeping Bm in mind throughout will preserve that bittersweet Spanish flavor.


July 22nd, 2008, 10:48 AM

#9

EdByrne Jazz Artist, Author


25/09/2014 12:17 p.m.


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I've been revisiting this tune because of this thread. I think the first section of the form is clearly in D Major, the second in B Minor. By qualitative emphasis we would have to call D the primary key between this relative Major/Minor oscillation. The melody in the A section is diatonic to D, while the B section introduces A#s (leading tones) to accentuate the B Minor, in spite of the fact that its first prominent appearance is as an accented upper chromatic neighbor. But here's what I found: Whether you make a "Melody Pitch Collection" or combine the chords, you arrive at this nonachord (9-note pc) that works beautifully as vehicle for improvisation throughout the entire form (at least as a basis): D, *(D#,) E, F#, G, A, A#, B, C#, D *The D# is optional, since it only appears in the harmony (in the B section), and is not in the melody. Therefore, you can also make an octachord without it: D, E, F#, G, A, A#, B, C#, D The overall mood and idea presented in the Introduction, however, indicates a (D Major or B Pure Minor) diatonic scale, which also works throughout. In creating lines in improvisation on this piece, therefore, there is no need to think chords or chord scales.


#10

July 22nd, 2008, 11:16 AM EdByrne Jazz Artist, Author


Harmonic Analysis (1 m. = 2): D: Bm: ||: IV MA7 | V7/vi | ii7 | V7 | I MA7 | IV MA7 | V7/vi (becoming V7/V7) | V7 D: | i7 | V7/ii7 :|| I can't get this to line up correctly, but The (key of D) below is last m. only; the Bm in the top line should appear before m.7 (V7/vi becoming V7/V7).


#11

July 22nd, 2008, 11:25 AM engelbach Piano/Compose/Arrange

Originally Posted by EdByrne

I've been revisiting this tune because of this thread. I think the first section of the form is clearly in D Major, the second in B Minor. By qualitative emphasis we would have to call D the primary key between this relative Major/Minor oscillation. The melody in the A section is diatonic to D, while the B section introduces A#s (leading tones) to accentuate the B Minor, in spite of the fact that its first prominent appearance is as an accented upper chromatic

25/09/2014 12:17 p.m.


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neighbor. But here's what I found: Whether you make a "Melody Pitch Collection" or combine the chords, you arrive at this nonachord (9-note pc) that works beautifully as vehicle for improvisation throughout the entire form (at least as a basis): Join Date: Location: Michoacán, Posts:

D, *(D#,) E, F#, G, A, A#, B, C#, D


The D# is optional, since it only appears in the harmony (in the B section), and is not in the melody. Therefore, you can also make an octachord without it: D, E, F#, G, A, A#, B, C#, D The overall mood and idea presented in the Introduction, however, indicates a (D Major or B Pure Minor) diatonic scale, which also works throughout. In creating lines in improvisation on this piece, therefore, there is no need to think chords or chord scales.

Nice, Ed.


#12

July 22nd, 2008, 12:00 PM EdByrne Jazz Artist, Author


Thanks, Jer. Another observation: In the opening rhythmic break clapping passage in 2/2 (that recurs throughout the performance), the gesure is angular, suggesting either incomplete arpeggios (diatonic leaps in thirds) or this descending motive: 2nd followed by a leap down of a third. In the rest of the tune the overall gesture is one of stepwise diatonic scalar movement, both ascending and descending. One could capitalize on these basic approaches in some solo choruses, which could act as a unifying device.


July 22nd, 2008, 12:14 PM randalljazz Registered User Join Date: Mar 2007 Posts: 2,813

#13

http://www.youtube.com/watch?v=63a4R8m0_Dg this is the great paco peña playing granadinas, the flamenco toque which was the inspiration for the concierto de aranjuez and, one may infer, has something to do with chick's reference to spain. granadinas has a tonic chord of B major, with a characteristic cadence of E minor-D major-C major-Bmajor, and a characteristic scale which is the B phrygian mode. the music itself is highly

25/09/2014 12:17 p.m.


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chromatic. it is usually transcribed in the key of one sharp, since the C major chord is functionally the "dominant" chord (goes to tonic). the music, of course, is from an unwritten oral tradition...passed down from moorish spain of the middle ages. (the guitarist has the capo at the first fret, so the absolute pitch is up a semitone.) Reply With Quote

#14

July 22nd, 2008, 12:35 PM EdByrne

Originally Posted by randalljazz

Jazz Artist, Author

http://www.youtube.com/watch?v=63a4R8m0_Dg this is the great paco peña playing granadinas, the flamenco toque which was the inspiration for the concierto de aranjuez and, one may infer, has something to do with chick's reference to spain.


granadinas has a tonic chord of B major, with a characteristic cadence of E minor-D major-C major-Bmajor, and a characteristic scale which is the B phrygian mode. the music itself is highly chromatic. it is usually transcribed in the key of one sharp, since the C major chord is functionally the "dominant" chord (goes to tonic). the music, of course, is from an unwritten oral tradition...passed down from moorish spain of the middle ages. (the guitarist has the capo at the first fret, so the absolute pitch is up a semitone.)

Very pretty--and Spanish, Randall. And while both the Phrygian and Aeolian modes are favorites in traditional Spanish music, "Spain" goes to B Pure (of Aeolian origin) Minor (except for the B7, over which CC sounds a prominent C# [Major Ninth] in the melody), and not Phrygian.


July 22nd, 2008, 01:20 PM randalljazz Registered User Join Date: Mar 2007 Posts: 2,813

#15

just offering another layer of understanding to the inspiration for the corea tune, which is, of course, not flamenco...but the reference to mother culture is his. http://en.wikipedia.org /wiki/My_Spanish_Heart the toque tarantas is of the same family as granadinas, but has a tonic of F#, with a characteristic progression of B minor-A major-G major-F# major, using basically the F# phrygian mode (same notes as B natural minor), and is usually transcribed in the key of two sharps. also highly chromatic. tonally a better fit with spain. the tonal ambiguity of these

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two forms is complicated further by the characteristic major sections often inserted. (again the performers use the capo, so the actual pitch is raised a semitone.) http://www.youtube.com /watch?v=Z9jNO1dqGKY http://www.youtube.com /watch?v=zx0yZp4l0nM Reply With Quote Page 1 of 2 1 2 Quick Navigation

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Chick Corea's Spain Analysis

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