For Aleeka

For those of you who don't keep a tab of this blog open and refresh it every two seconds like I do, there was a comment inquiring about my favorite "ii-V-I" song.

In short, there are just too many to pick. SOOOOOOOOOO many songs use a "ii-V-I" cadence, or some kind of substitution there of, that it's almost a question of what my all-time favorite song is. That being said, I will give you a list of songs that do it best because what kind of loser would I be if I didn't?

First up, "All the Things You Are" composed by Jerome Kern with lyrics by Oscar Hammerstein II. It's a beautiful little standard written for the musical Very Warm for May (1939). Just about every jazz-man and jazz-woman you can think of has recorded this song. I would go on to say that, based on the common knowledge of the chord progression, it's almost like a blues; any musician worth their salt will know this song. Anywhozit, this song has so many "ii-V" progressions in it, it'll make your head spin.

This is a very cool version of it. There may be other versions, but this one blows the roof off in respects to coolness.


Next, "These Foolish Things (Remind Me of You)" with music by Jack Strachey and words by Eric Maschwitz. This one follows the "vi-ii-V-I" pattern. This one is very popular as well. Everyone from Bryan Ferry to Thelonious Monk has recorded it.

Here is Bryan Ferry's version:


And here is Thelonious Monk's version (I like to call him Melodious Thunk, but that's just a little side note):


Now, for the second part of you question pertaining to tonality and key. I can tell you that "All the Things You Are" is pretty much always done in Ab (A flat. When will the "flat" symbol become a permanent fixture on keyboards?!). I haven't had to play it in any other keys, but I'm sure it has been done. It's a blast to play it in any key! Any chord tone you hit will sound amazing because of the way the chords change. It's a very nice song to solo over.

"These Foolish Things" is done in a variety of keys. I've seen it in C, G, and F sometimes. I do it in C because I like to sing along with it, and that is in a nice part of my range. A lot of instrumentalists do it in Eb (where is that damn "flat" symbol!!). I personally can't sing it in Eb very well. It's just too high in some parts. When I play with people that are reading it, I do it in Eb because that's how they're reading it.

Well Aleeka, I hope this answered your question! Let me know if you have any other musical query or if I didn't fully answer your first one!

Sorry, Marc!

I realize I've been negligent to my numerous fans, namely Marc, and for that, I apologize.

For those of you that don't read my comments from previous blogs or are just tuning in for the first time,  Marc asked about figured bass symbols. When analyzing classical music, mostly Bach chorales and soprano, alto, tenor, and bass (SATB) style arrangements, one uses figured bass symbols to denote inverted chords.
A few examples for y'all:
I, I 6/4, IV 6, V7, and so on.

At first, these numbers may seem a bit arbitrary. However, they do have a specific meaning, and those numbers are there for a reason.

Let's say you're analyzing a piece in C major. You have the triad of a tonic (I) chord (C, E, and G), but there's a problem, the E is the note that the bass sounds. You say you'll just put a I for the analyzation and move on to something more important in your life; the rent isn't going to pay itself, and you don't want to end up like those people in that musical.

You can't just leave that I there and think you're doing it right. You have to make note of that inversion! Yes, you've just stumbled upon an inversion. Inversions are fancy things composers use in music to make pieces sound more interesting. This particular chord is in first inversion. The way we describe a first inversion chord in figured bass is I 6.

We use the I because it still is a I chord no matter the inversion (then again, in jazz theory, people will sometimes add alterations to chords that are secretly inverted. For example, a chord that's spelled E-G-C could also be called an Em(#5). However, the Em(#5) would be spelled E-G-B#. My point is, if you saw it only on a keyboard, you could call it either way. You would just have to justify your answer like so. It's really more of a choice that composers encounter from time to time.) Holy digression, Batman! I don't even remember what I was saying. Oh, that's right! Inversions! Anyway, you're probably wondering from where the "6" came in the above example. The "6" comes from the fact that, in first inversion, there is a note sounding that is, the interval, a 6th above the bass. A quick note: remember people, bass does not equal root.

It makes sense if you think about it. The chord E-G-C has the interval of a minor sixth. The space between E and C is a sixth, thus we put a cute little arabic numeral (that's a fancy term for "everyday numbers") 6.

Wait wait wait, you're saying! There is also the interval of a third in that chord! To that I will say one simple thing; it's implied. You don't need to write it because it's expected.

That's not too hard. The point at which people run into trouble is when you have the inversions of a V7 chord, or really any 7 chord.

Lets say you're analyzing another piece in C major, and you run across a chord spelled G-B-D-F. That's a V chord, and you know it, but hold on there's an F with a G major triad? What the h-e-double hockey sticks? How do I let everybody know that F is there?

You use another figured bass convention. Well, really it's the same. Since there is an unusual note there you have to describe it somehow. What's that interval between G and F an octave above? If you said minor 7th, you're right. If you said anything else, stop reading. No please don't! I'm sorry, baby. Please com back! I'll never do it again.

Anyways, you would signify that 7th by putting a V7 for your analyzation. These inversions get a little hairy because they're a little harder to visualize. Because of that, I have found a chart that says everything I just did in much fewer words.

P.S. I noticed I had a sort of secret admirer that commented on my last post as well, and I would just like to take a moment to thank him. I mean it really is the fans that make this thing possible. Without all of your love and support, I don't know how I would get this all done. And, if this Travis guy wants to get together sometime, I'm more than open to it. I mean we can talk music theory, or I don't know. I mean I felt like we really had something. You know what I'm talking about! Please come back!

Well, good night and good luck everybody. I hope I helped all two of you that read my blog!

Did I say "tomorrow" in that last post?

I really meant "in a while".

I just thought I'd put up a composition that I find very amusing.

It's called Inflatable You and it's by a comedian named Tim Minchin. I first heard him on the Graham Norton Show whilst watching BBC america. Now I hear he's moved on to Conan. Normally, I don't go for the singing comedian, but I think this guy is pretty amazing. I haven't a clue what he's saying, but he used a tritone substitution, and anyone who does that has an "A" in my book. 

I love the Jazz feel he gets. In fact, I think the title of this song is actually a play off that old jazz standard Embraceable You. Then again, that could be total crap. I haven't had the pleasure of meeting Mr. Minchin. With eye liner like that, he has to be cool. 

First of all, I'd like to draw attention to the chord progression he uses. It's a I-vii-ii-V-ii-V-I type of feel. In reality, he's playing a V/ii as the second chord, and I'd be willing to bet that most of those chords have the 7th and maybe a 9th or two (get it? The 9 is the two, just as a compound interval! I could be a comedian too; screw you, mom. I do have what it takes). 

Anywhozitmabobadiddle, the thing that gives it that jazz feel, besides the swung eighth note, is the ii-V-I. Later, he goes into this walking bass thing that is nothing but tasteful in this song about an inflatable love doll. His bass line is very nice, by the way. I would like to note that it's pretty interesting that he has to play a minor 2nd to assert the idea that it's a wrong note he's hitting; there are no wrong notes in jazz. 

Another way he jazzes this piece up is with the "B" section. The "B" section changes keys rapidly. I like to determine how crazy people are by what key they modulate to in comparison to the original key. In this case, he's certifiable. He's in Eb Major in the beginning, and he goes into E for a bit! By the end of that section, he's almost completely there. That is pretty crazy if I do say so myself. It's like tritone substitution, but with keys!!

As a closing, he quotes the Beatles very classily. In fact that song is just a I-ii chord progression, but Timmy changes it. He makes it jazzy; he does a ii-V-I. Then after that, he ends with tritone substitution. 

This guy is my hero. 

By the way, if you want to know more, let me know. I think my e-mail is on this page, and if it's not, you're probably my mom because she's the only one that reads this. If that's the case, I'm in the other room crying about how awry my life has gone and how I have to write a blog for money. 

My First Blog

As a more momentous occasion than my first steps, I now post my first blog onto the inter webs. I'm not yet sure what this blog will be or become, but I'm hoping people will like it. I'm not sure how "in" Music Theory is, but by gosh, it's what I know. I'd just like someone to listen whilst I ramble about things I find interesting. Tomorrow, I'm planning on putting up my analyzation of a piece of music. You guys will see; it'll be awesome.

That brings me to my next point, if you guys have any suggestions or requests, let me know. Send me a message! I'd be happy to help you with any and all music theory needs you guys may have.

As for now, it's late and I must finish my compositions. I leave you all with one request, nay plea, stay classy, and have a drink for me. You deserve it.