Originally posted by Christoph


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Aminor6/F# (i) Fmaj7 (6)

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Fmaj7/E (6) Amin/E (i)*basically nothing more happening here than a chromatic bass line, the 6 chord in harmonic minor would normally resolve to the 5, does so in the bass (nice job Christoph!).



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o.k., 2 ways of looking at this next pt..1)he switches to a A dominant tonality (C# in bass w/#5) or 2) he uses a b5 sub for the i chord (Eb9/Db with the root and 5th omitted). I kinda like the 1st expl. better, so I'll go w/that. The 2nd chord would just be A dominant #5 w/the doubled 3rd exchanged for the 9th.


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|---3-------3---3-------3---3-------3---3-------3----|
|-2-----------2-----------2-----------2--------------|
|----------------------------------------------------|


A dominant is the 5/4 (d minor), Bminor 7b5 is just a sub for d minor (B D F A). Bminor7b5 is the ii chord of A harmonic / natural minor. Christoph changes the B tonality to a dominant9th chord, which would then be 5/5.



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|-----3---3-----2-------2-----3---3-----2-------2----|
|---3-------3---------------3-------3----------------|
|-1-----------1-----------1-----------1--------------|


Instead of going directly to the 5 chord he resolves to the tri tone sub of B: F, which is also the 6 chord in harmonic minor, which either resolves by half step down to the 5 or subs for the 1. Nice Move!


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|-----1---1-------1---1-------1---1-------1---1------|
|---2-------2---2-------2---2-------2---2-------2----|
|-2-----------2-----------2-----------2--------------|
|----------------------------------------------------|


Here he resolves it to the E (5 chord), tri tone motion in the bass ( alittle repetitive at this pt. would have rather heard chromatic half step resolution downward) adds sharp 5 in melody resolving to natural 5 for some nice tension and release.
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[edit]**fixed the table width problem**[/edit]

[Edited by Christoph on 10-28-2003 at 01:29 AM]