Let's look at the original Getz/Gilberto version in Db, not the fakebook version in F. Here's a faithful transcription of Gilberto's guitar part: hjgs.co.uk/wp-content/upl… . And this is the melody: drive.google.com/file/d/11gZNXD….
The A sections aren't too crazy: essentially, the progression of Db [6/9] - Eb9 - Ebm9 - D7 (or Ab flat9 when the bass enters) - Db [6/9] reduces to a I - ii - V7 - I progression with a chromatic II7 chord produced by an incomplete neighbouring note between the I and ii chords.
EXCEPT Gilberto played the entire thing in second inversion, so, until the bassist enters after the first verse, a tonal centre of Ab is implied rather than Db. V cool trick.
Incidentally, @owenpallett did a similar thing here: owenpallett.bandcamp.com/track/persever…
#indiemusic
#indiemusic
The B section is the really fun part, though. The most convincing explanation (Ed Byrne's or my adjustment of his) I've seen analyses mm. 11-22 as moving through three unresolved tonicizations:
Dmaj7-G7 is IV-bVII7 of A
Dm7-Bb7 is ii-bVII7 of C
and Ebm7-Cb7 is ii-bVII7 of the home key of Db
and from there we just go to a standard chain of ii-V-Is
(although Cb7 to Fm7 is still a bit wtf)
Dm7-Bb7 is ii-bVII7 of C
and Ebm7-Cb7 is ii-bVII7 of the home key of Db
and from there we just go to a standard chain of ii-V-Is
(although Cb7 to Fm7 is still a bit wtf)
which is not bad as an explanation but... where do those key areas/tonicizations come from?? A (Bbb) works as a chromatic mediant move to bVI from Db but why do we get to C from there? Why does G7 go to Dm7? (Bb7 to Ebm7 is obv straightforward.)
@threadreaderapp unroll
@sundarmusic any thoughts?
