The E9#11 seems stranger (not B dorian obviously) - but is explained by the voice-leading: it shares B, D and F# (Bm triad) with Gmaj9, while the G# and A# descend by semitone to G and A. It would normally be another secondary dominant (V/V), but doesn't go to A - and I'm not sure if the move to G makes it a "deceptive cadence", seeing as it doesn't sound like a resolution to me. The E9 is a little odd, maybe, but forms a dorian i-IV with the Bm11. (Gm-D is a standard minor plagal cadence, iv-I, commonly preceded, as here by the major IV.)Īb7#11 is the tritone sub for V/VI (substitute for D7alt). There are a few other common jazz functions too: the "backdoor" C9>Dmaj7, which is really the same as the Gm69 earlier on, just given a C bass. The D9 in bar 4 is a secondary dominant (V/IV). (Really hard to see how the key could be anything else!) It also resolves quite convincingly to D major at other points in the tune: bar 3 and bar 15, and similarly in the second section (bars 19 and 31) - and there's a very strong underlining of the D keynote all through the last 4 bars of each section. Click to expand.Simple answer is it ends on D.
0 Comments
Leave a Reply. |