Vous êtes sur la page 1sur 1

As a series with chordal voicing descending in a whole-tone skeletal form:

A: B-A-G-F-Eb (tritone A) G-F-Eb-C#-B- (tritone F) B: Eb-tritone-ma2nd-tritone-ma2nd-tritone-ma2nd-tritone


improvisational substitutions can now be seen as follows:
Martino

Analysis
B
1

G
Ami7

A
1 Bma7
Beats: 2

E
2 Gma7
2 2

Ami7

Fmi7

Fmi7

3
Fmi7

6
C#mi7

3 Ebma7
2 4

4 Gma7

5 Ebma7
2 2 2

6 Bma7
2 4

T
Ami7

T
Fmi7

Ami7

Fmi7

Fmi7

C#mi7

7
Ebma7
Beats: 4 4

8
Gma7
4 4

9 Bma7
4 4

10
Ebma7
4 4

Ami7

C#mi7

Fmi7

C#mi7

The series now reveals a simplistic interface of Ma7ths, (top row) to Mi7ths, (bottom row) throughout letter A, (in descent) while letter B unfolds as an upper and lower series of Ma2nds springing from tritones, (also separately seen horizontally as Ma3rds) It simplies the improvisational ow by alleviating V7ths as intermediates.