At
first glance it seems like a crazy hodge-podge of chords. The
concluding major chord moving to minor on beat 4 of the next to last
measure makes one wonder, is it supposed to be Middle-Eastern? But,
apparently it's from Miles' modal period, so let's do a quick analysis
and determine a best approach to playing this captivating tune.
My
guess is that it's in Phrygian mode, based on iii of the key. The move
from iii to IV, measures 1-2 is reminiscent of "The World Is A Ghetto"
by pop R&B group War. The VII chord in bar 3 is V of iii, with the I
chord of the key sounding a lot like bVI of the iii chord in measure 4.
Then 5 through 8 are still modal: vi-IV-III-iii. The major III chord in bar 7
is a classic use of a "surprise chord."
The
bridge is vi-IV-vi-IV followed by ii-ii/V-I-IV. Another way to
characterize the whole song would be to treat the Phrygian iii (which
serves as a tonic) as though it were a minor i. Normally, it's preferable to
think of minor key pieces in relation to their relative major because one
rarely encounter unfamiliar progressions as minor harmony often transits
to relative major. But just for fun, here's how Nardis translates if we
make the Phrygian chord our root i:
i-bII-V7-bVI iv-bII-I-i (rpt. 8)
bridge: iv-bII-iv-bII bvii-bvii/bIII7-bVI-bI
Treating
iii of the key as if it were i introduced a minor bvii and several
awkward chord shifts that don't confront us if we just relax and play in
the key. After all, that's what modal is all about!
The
rhythmic punches throughout the tune are very important for underlining
the melody. Don't make it too complicated - a slow count, 2 beats per
measure makes the quarter note anticipations into simple upbeats, and
eighth note anticipations are simply a small omission from sixteenth
note patterns. There's a triplet figure on beat 1 in bar 7 that could
also be thought of as
a quarter note shake or "turn" - helping us realize that measure 7 is
merely a basic quarter-half-quarter syncopation,
or eighth-quarter-eighth if counting in cut time.
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