I recall hearing this song in the car on the radio when i was a toddler and I thought it was the most magical music I had ever heard (in retrospect, it was because of the brilliant harmonic journey Jobim takes us over the bridge I can now articulate). And even though I have come to understand its harmony, from a technical standpoint, that knowledge has never detracted from my continued enjoyment of Jobim's iconic masterpiece. Thank you for your thoughtful and insightful analysis. (love your playing as well!)
Thanks Thomas! He starts the bridge, with Gb Major to “Gbm/Cb” (B7). The minorization my be melancholic, but the sense of wondering is stronger ... he keeps moving up and up... so it’s just a sigh and kind of a smile at the end. Beautiful work :)
Congrats for another great video, Doctor! I love Bossa Nova and I can recommend you two more great themes from Jobim: "Lígia", from the album "Urubu" and, of course, "Wave", released in the album "Wave". The way Jobim plays with the melody from the song with his piano lines are great in this one. In "Lígia" we can find an interval that appears three times in the harmony, and it creates a great semitone sound. The chords are B7M/F#, then the G#m7(9) and the other, in the C part of the song, is a B7M/D#, a beautiful sounding chord. The notes from the interval I refeer are the B and Bb. Also in "Urubu", the first song, called "O Boto" plays with the harmonies from the voices of Jobim and Miucha in the last part of the song, creating a nice effect, where the voice of Jobim goes up and Miucha's down, exchanging tones. And, maybe you knows about it, there's a great songbook series of Jobim written by Almir Chediak, where it covers a lot of the songs from his great carreer. You can find it easily in the internet too. Another thing I can show you is this channel and great video: th-cam.com/video/2JgoUFLTovk/w-d-xo.html This guy, Josimar Carneiro, did a doctoral thesis analysing the architecture in some Jobim songs. The video is subtitled in english, and you will find great material in this channel, too. Thanky you very much and keep doing this great job. I love your videos, I'm learning so much from them. greetings from Brasil!
Matheus, I'm glad my videos bring value to you. That's really great to hear. And thank you for all the great material. This guy, Josimar Cameiro, looks very interesting. I speak Spanish so I can almost understand what he's talking about. I will also check out what you're saying about the harmony Ligia. It's a beautiful song!
Thx Guy, very good subject , I was analysis desafinado at the moment... one suggestion /uestion, for me the G13 is just a "close-to" intermodal change, in effect G13 is in D minor melodic whilst we are in G major (so d natural)... it is just a short "escape" in the relative minor, the idea for me is to stress/justify the #11 (Db) in the melody .. very nic videos on pat/lyle...
Thanks, Antonio! Harmonically, both songs start from F G7 - (13 or b5) - Gm7... You can explain the G13 the same way you did. What I tried to do here to explain how it connects to the other chords. Usually, you would expect F - Gm7 - C7 - F progression with the basic melody C - Bb - Bb - F. But here, the G7 (13) is giving you the melody C - B - Bb - A. You get this chromatic B natural in the F major key. I think it's a more 'sensual' variation of the basic C - Bb - A.
hello , me again, ooops ... now i made a lil mistake. the verse chords are in the original : F maj - F maj - G7 - G7 - Gm7 - C7 - F maj - F maj :// you are right it is a straight C7 dom chord. - in the 1963 version the piano solo starts using the b5 in the C7 chord .... it comes later in the song. ciao, sorry, chris
Hi Chris! C7 is the basic harmony here. The other additions are a matter of the transition from chord to chord (voice-leading). Often the same player (including the composer himself), may play it with or without the b5 or b9 or 13. What doesn't change though is the basic harmony. Here it's the V, whether as C7 or C7b5 or even Gb7.
What version of TGFI are you using? I learned it in accordance with the original which starts with a Db6add9/Ab...low E string-4; A open; D string 3; G 3; B 4. This chord is the first one of the song. I don't know a Fmaj7 chord with this song, though I tried it and it sounds okay.
Hi! What you're describing is indeed what's on the album. But this is a specific execution of the basic harmony. The basic harmony of the song starts with tonic harmony and the first two notes of the melody are the 9 and the 7 of the tonic. Fmaj7 is the basic harmony. Bill Evans also used to start the initial tonic chords without the tonic in the bass, or in a Chopin way - where you just see a lot of notes in both hands, arpeggios, etc. You see the rich piano part but on top, you just see an Fma7 chord. (check out the chart of remembering the rain from 'Bill Evans the '70s)
@@dr.guyshkolnik_composer Okay cool. So this is what I see when I watch an analysis. The version I quoted...those notes and chords seem to give it what I call a more "airy" quality, whereas the Fmaj7s and all that give it a more defined quality. There seems to be a lot more space to wander around in with the original version, whereas what you have is something more defined. And you're right about the tonic in the bass is way more clearly defined with what you're playing. Although I'm playing a G# low note, it sure doesn't have to be the bass note, esp when the chord I described moves up 1/2 step.
@@jonnuanez2843 Exactly :) "airy" quality. The reason I look for the skeleton level of the harmony is that I can then come up with a new version of my own. This is how Bill Evans used to do it: He would "clear the table" of almost everything except for the absolute most essential ( Even if it meant one chord every 4 or 8 bars). Then, having a clear idea of the basic structure he would start building new stuff around it.
@@dr.guyshkolnik_composer I just played it again on guitar-got out the sheet music for a quick run-through. I played the chords. Then played the melody. Then linked them together. For me, how they got the melody for the first part with those chords...lol. He must've had that melody in his head and was locked into it no matter what. Using the Fmaj7 to G, etc seems more logical in terms of using them as your tonal center. But with the chords and music from the original version...wow. The "oh, but he sees her so sadly" where it's a Dmaj7-G7-Dm7-etc chord movement...that seems to have more of a tonal center. Soloing over those chords-the "air" would I think finding a root, something to hang your hat on to, and going from there. Not just going nuts but weaving in and out, which is to me what that solo does. It's like a less-defined chord provides more opportunities.
hello dr.guy - thats very nice playing ... but unfortunately some of your chords that you have written over the filmclip are not correct. ! the first bar bridge is F# maj 7 , okay ? min.4.07 not F# to B7 ... its a maj 7 , then : Verse : the second harmony in the song is certainly not a G 13. the 11 would be "out of place" , jobim was not a >dom 7 sus funk player
I recall hearing this song in the car on the radio when i was a toddler and I thought it was the most magical music I had ever heard (in retrospect, it was because of the brilliant harmonic journey Jobim takes us over the bridge I can now articulate). And even though I have come to understand its harmony, from a technical standpoint, that knowledge has never detracted from my continued enjoyment of Jobim's iconic masterpiece.
Thank you for your thoughtful and insightful analysis. (love your playing as well!)
Thanks Thomas! He starts the bridge, with Gb Major to “Gbm/Cb” (B7). The minorization my be melancholic, but the sense of wondering is stronger ... he keeps moving up and up... so it’s just a sigh and kind of a smile at the end. Beautiful work :)
Amazingly insightful. Thank you!
Thank you! ❤️
What an excellent channel this is!
Congrats for another great video, Doctor!
I love Bossa Nova and I can recommend you two more great themes from Jobim: "Lígia", from the album "Urubu" and, of course, "Wave", released in the album "Wave". The way Jobim plays with the melody from the song with his piano lines are great in this one. In "Lígia" we can find an interval that appears three times in the harmony, and it creates a great semitone sound. The chords are B7M/F#, then the G#m7(9) and the other, in the C part of the song, is a B7M/D#, a beautiful sounding chord. The notes from the interval I refeer are the B and Bb.
Also in "Urubu", the first song, called "O Boto" plays with the harmonies from the voices of Jobim and Miucha in the last part of the song, creating a nice effect, where the voice of Jobim goes up and Miucha's down, exchanging tones.
And, maybe you knows about it, there's a great songbook series of Jobim written by Almir Chediak, where it covers a lot of the songs from his great carreer. You can find it easily in the internet too.
Another thing I can show you is this channel and great video: th-cam.com/video/2JgoUFLTovk/w-d-xo.html
This guy, Josimar Carneiro, did a doctoral thesis analysing the architecture in some Jobim songs. The video is subtitled in english, and you will find great material in this channel, too.
Thanky you very much and keep doing this great job. I love your videos, I'm learning so much from them.
greetings from Brasil!
Matheus, I'm glad my videos bring value to you. That's really great to hear. And thank you for all the great material. This guy, Josimar Cameiro, looks very interesting. I speak Spanish so I can almost understand what he's talking about. I will also check out what you're saying about the harmony Ligia. It's a beautiful song!
very nice stuff, all time great song and explanation. Thanks matey
Thank you!
Thx Guy, very good subject , I was analysis desafinado at the moment... one suggestion /uestion, for me the G13 is just a "close-to" intermodal change, in effect G13 is in D minor melodic whilst we are in G major (so d natural)... it is just a short "escape" in the relative minor, the idea for me is to stress/justify the #11 (Db) in the melody .. very nic videos on pat/lyle...
Thanks, Antonio!
Harmonically, both songs start from F G7 - (13 or b5) - Gm7... You can explain the G13 the same way you did. What I tried to do here to explain how it connects to the other chords.
Usually, you would expect F - Gm7 - C7 - F progression with the basic melody C - Bb - Bb - F.
But here, the G7 (13) is giving you the melody C - B - Bb - A. You get this chromatic B natural in the F major key. I think it's a more 'sensual' variation of the basic C - Bb - A.
hello , me again, ooops ... now i made a lil mistake. the verse chords are in the original : F maj - F maj - G7 - G7 - Gm7 - C7 - F maj - F maj :// you are right it is a straight C7 dom chord. - in the 1963 version the piano solo starts using the b5 in the C7 chord .... it comes later in the song.
ciao, sorry, chris
Hi Chris! C7 is the basic harmony here. The other additions are a matter of the transition from chord to chord (voice-leading). Often the same player (including the composer himself), may play it with or without the b5 or b9 or 13. What doesn't change though is the basic harmony. Here it's the V, whether as C7 or C7b5 or even Gb7.
Thank you, Mæstro!
Thank you ! Does Desafinado uses the same technique ? I would be curious to know
Hi! Desafinado's melody is more chromatic but its harmonic structure is a bit more predictable than Ipanema's bridge.
@@dr.guyshkolnik_composer I see I hope I catch on, Im trying to learn it. slowly but surely, will be sure to check your other videos !
What version of TGFI are you using? I learned it in accordance with the original which starts with a Db6add9/Ab...low E string-4; A open; D string 3; G 3; B 4. This chord is the first one of the song. I don't know a Fmaj7 chord with this song, though I tried it and it sounds okay.
Hi! What you're describing is indeed what's on the album. But this is a specific execution of the basic harmony. The basic harmony of the song starts with tonic harmony and the first two notes of the melody are the 9 and the 7 of the tonic. Fmaj7 is the basic harmony.
Bill Evans also used to start the initial tonic chords without the tonic in the bass, or in a Chopin way - where you just see a lot of notes in both hands, arpeggios, etc.
You see the rich piano part but on top, you just see an Fma7 chord. (check out the chart of remembering the rain from 'Bill Evans the '70s)
@@dr.guyshkolnik_composer Okay cool. So this is what I see when I watch an analysis. The version I quoted...those notes and chords seem to give it what I call a more "airy" quality, whereas the Fmaj7s and all that give it a more defined quality. There seems to be a lot more space to wander around in with the original version, whereas what you have is something more defined. And you're right about the tonic in the bass is way more clearly defined with what you're playing. Although I'm playing a G# low note, it sure doesn't have to be the bass note, esp when the chord I described moves up 1/2 step.
@@jonnuanez2843 Exactly :) "airy" quality. The reason I look for the skeleton level of the harmony is that I can then come up with a new version of my own. This is how Bill Evans used to do it: He would "clear the table" of almost everything except for the absolute most essential ( Even if it meant one chord every 4 or 8 bars). Then, having a clear idea of the basic structure he would start building new stuff around it.
@@dr.guyshkolnik_composer I just played it again on guitar-got out the sheet music for a quick run-through. I played the chords. Then played the melody. Then linked them together. For me, how they got the melody for the first part with those chords...lol. He must've had that melody in his head and was locked into it no matter what. Using the Fmaj7 to G, etc seems more logical in terms of using them as your tonal center. But with the chords and music from the original version...wow. The "oh, but he sees her so sadly" where it's a Dmaj7-G7-Dm7-etc chord movement...that seems to have more of a tonal center.
Soloing over those chords-the "air" would I think finding a root, something to hang your hat on to, and going from there. Not just going nuts but weaving in and out, which is to me what that solo does. It's like a less-defined chord provides more opportunities.
Here's the legendary musician Bob Strauch's version with his own lyrics: th-cam.com/video/IDxLedytMm0/w-d-xo.html
Can the melody of this song be understood as a Mixolydian scale？
hello dr.guy - thats very nice playing ... but unfortunately some of your chords that you have written over the filmclip are not correct. ! the first bar bridge is F# maj 7 , okay ? min.4.07 not F# to B7 ... its a maj 7 ,
then : Verse : the second harmony in the song is certainly not a G 13. the 11 would be "out of place" , jobim was not a >dom 7 sus funk player
hi from Greece...
Hi Sakis!
🔥🙌🏾😎💫
*vinicius de MORAES
Thank you :)
GENIAL YO TOCO SAX ME AYUDARA JEJEJEJEJE
YoTocoSax Thank you!
you know my Instagram? I do short tutorials (el mismo nombre)
@@dr.guyshkolnik_composer ok ahi vamos !
The right name is Moraes, not Morales. Vinícius de Moraes. 😊
Yes I know it now, it was pointed out to me. Thank you!