The Db-G-C chord in bar 4 is a prolongation of Bb Dorian, using pitches from that scale, but it also can be understood as a shift to Db Lydian (i.e., the "altered" relative major of "altered" Bb minor). And playing a quartal "V" chord (i.e., rooted on F, the V of Bb) where "tonic" harmony would go (Bb minor/dorian), is very Tyner-esque. Since we're in Dorian, projecting scale degrees ^5 (F) and ^6 (G) defines the characteristic modal sound. I suggest that these are actually "inverted" F - G quartal voicings. I also consider that the abstract structural form as:Īs indicated in the OP, Tyner begins with a standard Bb - C quartal voicing projecting Bb Dorian (i.e., "altered" minor). Thus, the relationship between Bb Dorian and Db Lydian is in this situation viewed as analogous to the relative minor/major relationship.
So I look at Bb Dorian as being minor in altered form, and Db Lydian as being major in altered form. I further interpret this in light of Bb minor and Db major being relative modes. Because modal harmony divorces itself from major/minor tonality, focusing more on a (scalar) collection of pitches and avoiding triadic tonal functions, Tyner can oscillate between and mix various modes, never fully committing to any of them.įor the purposes of this analysis, I consider that Tyner is moving between Bb Dorian and Db Lydian. I propose that Tyner isn't playing in a single mode. This post lays out a basis for analysis, considers the music in four-bar groupings, and finally summarizes the analysis. So to fit them in the context of a Bb minor blues, the most likely sequence could be something like:īb-7 (i-7), Eb7 (IV7 ?), Gb7 (bVI7), F7alt (V7alt)ĭoes it make sense to try to make sense of the origin of these chords? Or is it a more of a playing-out approach without much regard to the specfics of the chords, but rather getting a "maximal chromaticism / tension" sound? Then quickly changing to Gb C F, which could be a D7 altered chord (3 b7 #9) or a Ab7 (b7 3 13).Īt the end of bar 8, it introduces a Gb7 or a C7 altered voicing (E Ab Bb Eb = 3 b13 b7 #9) Db G C, this could be an A7 altered chord (3 b7 #9), a Eb7 (b7 3 13), or a continuation of the fourth voicing in Bb Dorian. It starts with a common fourth voicing on Bb which shifts to C, this is the only thing I recognize he does a lot, playing with a Bb-Dorian sound. Focusing just in the first pass of the Bb- blues from (0:15). I don't understand where these left hand voicings are coming from.