Harmony 4 topics are heard clearly in these tunes. They also contain many
concepts from Harmony 2 and 3. If possible try to listen to the recorded versions
listed here, but at least try to find transcriptions or published scores for analysis
and application.
Concept: Deceptive Resolutions
“Day Dream” Ella Fitzgerald Ella Fitzgerald Sings the Duke Ellington Song Book (Duke
Ellington and Billy Strayhorn)
H4 ---------------------------------------------------Bass ostinato [intro]
Deceptive resolutions of Secondary Dominants to unexpected target qualities
Constant Structure: dominant quality chords at the end (not notated)
“Early Autumn”] Woody Herman Early Autumn featuring Stan Getz (Ralph
and Woody Herman)
Interpolated II-7
Literal melodic sequence
Guide tone line (strong, w. 5th and leap though: bars 9-13)
H3 ---------------------------------------------------Modulations: Direct into bridge; transitional out of bridge
Extended SubV7
SubV7 with related II-7
Interpolated substitute dominants
H4 ---------------------------------------------------Deceptive resolution: V7/III resolving like SubV7
Deceptive resolution: subV7/III resolving down P5
Guide tone line (s trong)
“Felicia and Bianca” Toots Thielemans The Brazil Project (Oscar Castro-Neves)
H2 ---------------------------------------------------Modal interchange IV-7, bVII7
Secondary Doms and related II-7
Interpolated II-7
Diatonic sequence with interval alteration
Motivic manipulation
H3 ---------------------------------------------------Modulation
#IV-7(b5)
V7 standard deceptive resolution (bar 34)
H4 ---------------------------------------------------Deceptive resolutions of Secondary Dominants
Possible VII7, VI7 and III7
Lydian intro and outro
Concept: Contiguous II V and Contiguous Dominants
“Blood Count” [2409] Duke Ellington ...And His Mother Called Him Bill (Billy
Burns
Harmony TuneFile Table of Contents P.2
Strayhorn)
H2 ---------------------------------------------------Line cliche in major and minor
Modal interchange
Extended dominants
H3 ---------------------------------------------------SubV7 with chromatically related II-7
Modulation
H4 ---------------------------------------------------Contiguous Dominants
Special function dominants
Constant structure
Dominant and Tonic Pedal
“Angel Eyes” Sonny Stitt and the Hank Jones Trio The Good Life (Matt
H2 ---------------------------------------------------Minor key harmony, VI-7b5
H3 ---------------------------------------------------SubV7/V
Direct Modulation
H4 ---------------------------------------------------Contiguous II V
bVI7
Short tonic pedal
Dennis)
“Eye of the Beholder” Chick Corea Eye Of The Beholder (Chick Corea ) Contiguous II
V
Constant Structure
Hybrids
Polychords
Inversions
Deceptive Resolutions
Concept: Special Function Dominants
“Here Comes the Sun” The Beatles Abbey Road (George Harrison)
H2 ---------------------------------------------------bIII and bVII Modal interchange chords
H3 ---------------------------------------------------Standard deceptive resolution of V7
H4 ---------------------------------------------------II7
Inversion
“Dream” Sarah Vaughan The Complete Sarah Vaughan on Mercury Vol. 3
Disk 1
Harmony TuneFile Table of Contents P.3
(J. Mercer - Chappell)
H4 ---------------------------------------------------VII7 with related II-7
Deceptive resolution of V7/III
“Sweet Zurzday” Duke Ellington The Great Paris Concert (Duke Ellington and
Strayhorn)
H3 ---------------------------------------------------SubV7
H4 ---------------------------------------------------bVI7
Billy
Concept: Pedal
Harpsichord Concerto #1 Excerpt Glen Gould Bach - Keyboard Concertos
1, 4, & 5 (J. S. Bach
H4 ---------------------------------------------------Tonic Bass Pedal in Minor
Short Tonic Soprano pedal
Nos.
Symphony #1 Excerpt [7834] Brahms Symphonie No. 1 Berliner Philharmoniker (J.
Brahms) P. 22
show play
H1 ---------------------------------------------------Alto and Tenor clefs
Many notes on leger lines
H2 ---------------------------------------------------Motivic manipulation: diatonic sequence with interval alteration
H4 ---------------------------------------------------Tonic Pedal in bass
“Free Fallin'” [10421] Tom Petty Full Moon Fever (Tom Petty and Jeff Lynne)
Double Pedal: Tonic and Dominant
Bass Ostinato
4113. “Takin' It to the Streets” The Doobie Brothers Takin’ It To the Streets
(Michael McDonald)
IV-7 Modal Interchange chord
Secondary Dominants: V7/V, V7/IV/b7
H4 ---------------------------------------------------Dominant bass pedal
Tonic soprano pedal
Inversions
“Looking for Answers” Susan Tedeschi Just Won’t Burn (S. Tedeschi)
H4 ---------------------------------------------------Tonic Pedal in Bass
Harmony TuneFile Table of Contents P.4
II7
Inversion
Concept: Ostinato
“Prayer (Oh Dr. Jesus)” [124] George Gershwin’s Miles Davis - Porgy and Bess
(George Gershwin, arranged by Gil Evans)
H4 ---------------------------------------------------Layered ostinato
Tonic pedal at beginning
Tonic Dorian
. “Time” Mary J. Blige Mary (Mary J Blige, Chucky Thompson, and Stevie Wonder) P.
H4 ---------------------------------------------------Layered ostinato
Concept: Modal Harmony
“X Marks the Spot” Joe Sample The Pecan Tree (Joe Sample
H3 --------------------------------------------------- SubV7
 Direct modulation
H4 --------------------------------------------------- Dorian Modal Harmony
 Aeolian Modal Interchange
 Hybrids
 Bass ostinato
“Eleanor Rigby” [246] Beatles Revolver (John Lennon and Paul McCartney)
H4 --------------------------------------------------- Aeolian and Dorian Modal Harmony
 Tonic pedals
 No V7 in the tune
“King of the Hill” Spirit Trail Bruce Hornsby (Bruce Hornsby)


Mixolydian/Dorian mixture; b3 in Bass, Mixolydian Melody
Bass Ostinato
Concept: Modal Interchange
“Little Sunflower” Freddie Hubbard Backlash (Freddie Hubbard)
H4 --------------------------------------------------- Dorian harmony with Phrygian and Ionian Modal Interchange
Harmony TuneFile Table of Contents P.5


Dorian melody in the ‘A’ section
Bass Ostinato
“Crystal Silence” Chick Corea and Gary Burton Crystal Silence
H4 --------------------------------------------------- Modal Interchange
 Aeolian with Dorian and Phrygian Modal interchange chords
 Harmonic Sequence
 Quartal voicings
Concept: Hybrids
“Don’t Take Me Alive” Steely Dan Royal Scam (Walter Becker and Donald Fagen)
H4 --------------------------------------------------- Hybrids
 Aeolian Harmony with Hybrid Reharmonizations
 Modal interchange
 Short example of Constant Structure in bars 25 through 27
 Tonic Pedal with Hybrids in bars 54 to 58
“Passage” Chick Corea Elektric Band Eye of the Beholder (Chick Corea)
H4 --------------------------------------------------- Hybrids
 Polychords
 Ostinato
“Lakes” [3904] Pat Metheny Watercolors (Pat Metheny)
H4 --------------------------------------------------- Hybrids
 Tonic Pedal
 Brief four tonic system at Letter B
 Harmonic Sequence
Concept: Polychords
“Blue And Green” Bill Evans Affinity (Miles Davis)
H3 --------------------------------------------------- Modulation
 SubV7s
H4 --------------------------------------------------- Ambiguous Tonality
Harmony TuneFile Table of Contents P.6
Concept: Constant Structure
“Povo” [4452] Freddie Hubbard Sky Dive (Freddie Hubbard, arranged and
conducted by Don Sebesky).




Motivic development–melodic repetition
H4 ---------------------------------------------------Constant Structure
Special Function Dominant: bVI7
Bass Ostinato
“I’ll Be Around” Chaka Khan C.K. (Alec Wilder, arranged by Dave Grusin),
H3 --------------------------------------------------- Modulation
 Substitute Dominant
 #IV-7(b5)
H4 --------------------------------------------------- Constant Structure
 Rhythmicized Dominant Pedal
 Deceptive Resolution
“Visions” Stevie Wonder Innervisions (Stevie Wonder)
H4 --------------------------------------------------- Constant Structure Related to Dorian Modal Harmony