Learning Brazilian Guitar Forums Theory harmonic changes in bridge to Garota de Ipanema

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    • AvatarThomas Gore
      Participant
      Post count: 39

      At various times I have been trying to understand the harmonic movement of the bridge in this tune.
      Does anyone have an explanation ?

    • RenatoRenato
      Keymaster
      Post count: 187

      Could you please write the chord progression you are talking about?

    • AvatarThomas Gore
      Participant
      Post count: 39

      Yes I will do that soon

    • AvatarThomas Gore
      Participant
      Post count: 39

      The bridge (in the key that you show in your lesson… and do you have a comment on why so many people in U.S. play it in key of F ?)

      Ebmaj7 | Ebmaj7 | Ab7 | Ab7 |

      Ebmin7 | Ebmin9 | B7 | B7 |

      Em7 | Em9 | C7 | C7 |

      F#m7 | B7 | Em7 | A7 |

      I understand the last line, just a 3-6-2-5 in the key of D (F#m7 etc.)

      But how do you explain the harmonic movements in the first 3 lines ?

      The first line goes Eb to Ab I to IV (assuming new key of Eb) or could this be the key of Db

      Next Em7 i goes to bVI (C7) (assuming new key of Eminor)

      Do you think of this as temporary key change ? If so what keys ?

      Just curious what you will say

      I have such respect for Jobim’s abilities and creativity. It sounds wonderful, but what was he thinking, what was his structure ?

      Thank you
      Tom

    • AvatarThomas Gore
      Participant
      Post count: 39

      Left out one

      2nd line Ebmin to B7 (again i to bVI7)

      same movement as third line but different key ?

    • RenatoRenato
      Keymaster
      Post count: 187

      Many people play it in F because this is the origial key. João Gilberto recorded it in D and I thought it would be a more suitable key for males and females to sing.

      The bridge (in the key that you show in your lesson… and do you have a comment on why so many people in U.S. play it in key of F ?)

      Ebmaj7 | Ebmaj7 | Ab7 | Ab7 |

      Ebmin7 | Ebmin9 | B7 | B7 |

      Em7 | Em9 | C7 | C7 |

      F#m7 | B7 | Em7 | A7 |

      The harmony in this passage is complicated. Jobim used the mediants (the 3rd degree of a scale) as a path to build it.

      First, we have to get rid of the relative chords he used in this passage to start analysing it. So, instead of Ebm7 (or D#m7) we have F#maj7, and instead Em7, we have Gmaj7. So, we get this:

      Ebmaj7 – Ab7
      F#maj7 – B7
      Gmaj7 – C7

      Now, we can see that there is a relationship of 3rd between the chords with M7.

      Dmaj7 – F#maj7 (3rd above)
      Ebmaj7 – Gmaj7 (3rd above)

      if we extend the idea in order to complete the cycle, we would have:

      Dmaj7 – F#maj7 – A#maj7 (Bbmaj7) – Dmaj7 – every chord is distant a M3 above the previous one
      Ebmaj7 – Gmaj7 – Bmaj7 (Cbmaj7) – Ebmaj7 – every chord is distant a M3 above the previous one

      The link between Dmaj7 and Ebmaj7 is the minor subdominant function, which is present in Dm. This is also known as modes mixture. In Dm, you have Bbmaj7 as VI, and Gm as iv. Ebmaj7 and Gm are relative chords (Gm is iii in Eb, and Eb is VI in Gm). So, as you can see, the relationship between all these chords is distant and somewhat nebulous. We can say that the tonality is suspended in this passage, since each new group of chords bring us a new key center.

      Try playing the full progression and you will see that it works fine:

      Dmaj7 – Ebmaj7 – F#maj7 – Gmaj7 – Bbmaj7 – Bmaj7 – Dmaj7

    • AvatarThomas Gore
      Participant
      Post count: 39

      Thank you
      I will have to study that
      I have not heard this explanation before!

    • AvatarThomas Gore
      Participant
      Post count: 39

      Renato, I think I have understood this
      When you say “relative” you mean the chords have the same notes, just rearranged ?

      and in the US there has been controversy about the key
      Berklee College Real Book has it in F
      But I thought Gilberto played it in Db (by watching videos of him) but he could have had the guitar tuned differently

      What evidence is there about the original key being composed by Jobim in F ?
      Some of those historic recordings from the club in about 1962 are available and I will listen again

      Fascinating

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