intro
| I[SUP]maj7[/SUP]
| i[SUP]7[/SUP]
| IV[SUP]dom9[/SUP]
| V[SUP]maj7[/SUP]-of-TTS-of-V
| TTS[SUP]dom7b5[/SUP]-of-V
| I[SUP]maj7[/SUP]
|
|---|
Verse and Chorus
| I[SUP]maj7[/SUP]
| iv[SUP]7[/SUP]
| IV[SUP]dom9[/SUP]
| V[SUP]maj7[/SUP]-of-TTS-of-V
| TTS[SUP]dom7b5[/SUP]-of-V
| I[SUP]maj7[/SUP]
|
|---|
Bridge
| V[SUP]maj7[/SUP]-of-TTS-of-V
| iii[SUP]9[/SUP]
| V[SUP]maj7[/SUP]-of-TTS-of-V
| iii[SUP]9[/SUP]
| i[SUP]7[/SUP]
| TTS[SUP]dom7b5[/SUP]-of-V
|
|---|
TTS = TriTone Substitute
i.e. TTS-of-V = means the chord that is a tritone (6 semitones) away from chord V.
In A[SUP]b[/SUP], E[SUP]b[/SUP] is chord V and the tritone away is B[SUP]bb[/SUP] or A.
replacing the tritone substitutes with the original chords we get......
| | | | | | |
intro
| I[SUP]maj7[/SUP]
| i[SUP]7[/SUP]
| IV[SUP]dom9[/SUP]
| V[SUP]7[/SUP]-of-V
| V[SUP]7[/SUP]
| I[SUP]maj7[/SUP]
|
|---|
intro
| A[SUP]bmaj7[/SUP]
| i[SUP]b[/SUP]m[SUP]7[/SUP]
| D[SUP]bdom9[/SUP]
| B[SUP]b7[/SUP]
| E[SUP]b7[/SUP]
| A[SUP]bmaj7[/SUP]
|
|---|
Verse and Chorus
| I[SUP]maj7[/SUP]
| iv[SUP]7[/SUP]
| IV[SUP]dom9[/SUP]
| V[SUP]7[/SUP]-of-V
| V[SUP]7[/SUP]
| I[SUP]maj7[/SUP]
|
|---|
Verse and Chorus
| A[SUP]bmaj7[/SUP]
| D[SUP]b[/SUP]m[SUP]7[/SUP]
| D[SUP]bdom9[/SUP]
| B[SUP]b7[/SUP]
| E[SUP]b7[/SUP]
| A[SUP]bmaj7[/SUP]
|
|---|
Bridge
| V[SUP]7[/SUP]-of-V
| iii[SUP]9[/SUP]
| V[SUP]7[/SUP]-of-V
| iii[SUP]9[/SUP]
| i[SUP]7[/SUP]
| V[SUP]7[/SUP]
|
|---|
Bridge
| B[SUP]b[/SUP]
| Cm[SUP]9[/SUP]
| B[SUP]b[/SUP]
| Cm[SUP]9[/SUP]
| A[SUP]b[/SUP]m[SUP]7[/SUP]
| E[SUP]b[/SUP]
|
|---|
The chord A[SUP]7b5[/SUP] is spelt A-C[SUP]#[/SUP]-E[SUP]b[/SUP]-G, i.e. the only non scale tone is the root of the chord as C[SUP]#[/SUP]=D[SUP]b[/SUP] and E[SUP]b[/SUP] and G are part of the home scale
E[SUP]b7[/SUP] is spelt E[SUP]b[/SUP]-G-B[SUP]b[/SUP]-D[SUP]b[/SUP] which is close to A[SUP]7b5[/SUP] - lower the B[SUP]b[/SUP]
B[SUP]b7[/SUP] is spelt B[SUP]b[/SUP]-D-F-A[SUP]b[/SUP] which is very close to E[SUP]maj7[/SUP]: E-G[SUP]#[/SUP]-B-D - raise the B[SUP]b[/SUP] and lower the F and vice versa
| | | | | | |
I[SUP]maj9[/SUP]
| [SUP]b[/SUP]V[SUP]dom9[/SUP]
| iii[SUP]7[/SUP]
| [SUP]b[/SUP]ii[SUP]7[/SUP]
| [SUP]b[/SUP]V[SUP]#5[/SUP]
| II[SUP]maj7[/SUP]
| III[SUP]6/9[/SUP]
| vii[SUP]7[/SUP]
| VI[SUP]6[/SUP]
|
I have recast the chord spellings as
| | | | | | | | |
A[SUP]maj9[/SUP]
| E[SUP]b9[/SUP]
| C[SUP]#[/SUP]m[SUP]7[/SUP]
| B[SUP]b[/SUP]m[SUP]7[/SUP]
| E[SUP]b(#5)[/SUP]
| B[SUP]maj7[/SUP]
| C[SUP]#6/9[/SUP]
| G[SUP]#[/SUP]m[SUP]7[/SUP]
| F[SUP]#6[/SUP]
|
[SUP]b[/SUP]V is the tritone substitution for chord I, so the first two chords are simply different versions of the same chord one with a tonic function the other with a dominant function.
| | | | | | | | |
iii[SUP]7[/SUP] is an elisive substitute for chord I, so we continue with the vacillation between tonic and dominant function.
| | | | | | | | |
[SUP]b[/SUP]ii[SUP]7[/SUP] is a substitute for chord V
| | | | | | | | |
I[SUP]maj9[/SUP]
| I[SUP]dom9[/SUP]
| I[SUP]maj9[/SUP]
| V[SUP]dom7[/SUP]
| I[SUP]dom#5[/SUP]
| | | | |
A[SUP]maj9[/SUP]
| A[SUP]dom9[/SUP]
| A[SUP]maj9[/SUP]
| E[SUP]dom7[/SUP]
| A[SUP]dom#5[/SUP]
| | | | |
the next four chords signal a potential shift in tonality from A to B and could be interpreted as
| | | | | | | | |
| I[SUP]maj7[/SUP]
| II[SUP]6/9[/SUP]
| vi[SUP]7[/SUP]
| V[SUP]6[/SUP]
| | | | |
| B[SUP]maj7[/SUP]
| C[SUP]#6/9[/SUP]
| G[SUP]#[/SUP]m[SUP]7[/SUP]
| F[SUP]#6[/SUP]
| | | | |
chords of the 6th are in essence minor 7ths in inversion
so C#6/9 could also be A#m11, and F#6 could also be D#m7
However, it is more likely that the dominant function of each chord is the intended use and so these should be interpreted as written.....
