Need some help discerning the harmonic function of some chords!

Branshen

https://www.youtube.com/watch?v=cpwhSG06EVY

This song starts off in the key of Bb and modulates to F and to G, it goes from Bb - F - Bb - G.

To get to the keys of F and G from Bb, the composer has slotted in some slick chord changes, which I've attempted to transcribe as follows (feel free to correct my chords):

To modulate from Bb to F (0:41-0:54):
Ebm Bb | Fm C | Ab7 G7 | C CAug| 

To modulate from Bb to G (2:31-2:46):
Ebm Bb | Fm C | Cm F7 | Am DAug| 

Looking first at the chords in the Bb-F modulation, I think of each of the first two bars as a new modulated key, so iv - I in Bb and C, before settling in C for the last 2 bars. The C then becomes augmented 7, which leads it to F..

With the chords in the Bb-G modulation, the same idea applies so the first two bars are iv - I in Bb and C respectively, but then it changes up to be come ii - Vs in Bb and G for the last two bars..

Is my understanding of the harmonic functions here correct? that the modulation starts and centers around some seemingly random minor plagal cadences and ii - V changes.. Any other explanations or observations that I've missed?

viz

Branshen said:

https://www.youtube.com/watch?v=cpwhSG06EVY

This song starts off in the key of Bb and modulates to F and to G, it goes from Bb - F - Bb - G.

To get to the keys of F and G from Bb, the composer has slotted in some slick chord changes, which I've attempted to transcribe as follows (feel free to correct my chords):

To modulate from Bb to F (0:41-0:54):
Ebm Bb | Fm C | Ab7 G7 | C CAug| 

To modulate from Bb to G (2:31-2:46):
Ebm Bb | Fm C | Cm F7 | Am DAug| 

Looking first at the chords in the Bb-F modulation, I think of each of the first two bars as a new modulated key, so iv - I in Bb and C, before settling in C for the last 2 bars. The C then becomes augmented 7, which leads it to F..

With the chords in the Bb-G modulation, the same idea applies so the first two bars are iv - I in Bb and C respectively, but then it changes up to be come ii - Vs in Bb and G for the last two bars..

Is my understanding of the harmonic functions here correct? that the modulation starts and centers around some seemingly random minor plagal cadences and ii - V changes.. Any other explanations or observations that I've missed?

So nice to hear a song with some interesting harmony! Cheers. 

Your first one is spot on and yep it’s a iv-I in Bb (not yet a modulation even thought the iv was a minor) then a iv-I in C (which is a mini-modulation) followed by a bVi-V-I in C. That C is then augmented so acts as a V(alt) ready for the V-I cadence to F (this is the 1st proper modulation, as you say). 

So at a macro level it moves up a tone to C, then up a 4th to F. 

The 2nd one:
First two bars the same, like you say. 

The next ones are A(dim) - D / A7 - D. 

I can see why you’ve written Cm because A(dim) is a bit like Cm, and as it makes a perfect cadence to D, because you thought it was Cm, and you heard the 4th-up, you assumed it went to F. But at its most basic it’s A-D - well it’s some of the notes from A(alt), then D7. (Listen to the cello)

And the last bar is an A (not Am) and the D is not augmented (that descending line just stops at the minor 7th); then yep it makes a perfect cadence to G. 

Anyhoo your overall description of what’s going on is basically great

Branshen

viz said:

So at a macro level it moves up a tone to C, then up a 4th to F. 

The 2nd one:
First two bars the same, like you say. 

The next ones are A(dim) - D / A7 - D. 

I can see why you’ve written Cm because A(dim) is a bit like Cm, and as it makes a perfect cadence to D, because you thought it was Cm, and you heard the 4th-up, you assumed it went to F. But at its most basic it’s A-D - well it’s some of the notes from A(alt), then D7. (Listen to the cello)

And the last bar is an A (not Am) and the D is not augmented (that descending line just stops at the minor 7th); then yep it makes a perfect cadence to G. 

Anyhoo your overall description of what’s going on is basically great

I hadn't thought of the mini modulation to C, which makes sense, as a way to bridge the jump up to F. 

Thanks for the chord corrections! I do need to train my ear some more. Another error I commonly make is mistaking a simple major chord for its relative minor 7, particular is more jazzy progressions.

It is interesting composing to go from a minor ii - V (A dim - D), and then changing the movement to a secondary dominant movement (A7 - D), not something I've paid attention to before, but it works so well!

Looking at the chords again, I would think there are 3 modulations in the following progression:
Ebm Bb | Fm C | A(dim) - D | A7 - D | 

Bb to C (the mini modulation) to G minor (A(dim) - D, which also happens to be the relative minor of Bb) to G major (A7 - D, secondary dominant movement)! really clever!

Another really cool bit which happens in the song takes place at 0:23-0:28, which I've bolded below:

Bb | Dm | Dm7b5 - G7 | Cm |
Ebm | Bb - Bb6 | Ebmaj7 - A7| D |

I would've expected the Ebmaj7 to be a Em, to make it a simple ii - V to D, but we get an Ebmaj7, which I dont really understand, the best explanation I can think of is that it is similar to a tritone sub? Really perks your ears up. 

viz

Branshen said:

viz said:

So at a macro level it moves up a tone to C, then up a 4th to F. 

The 2nd one:
First two bars the same, like you say. 

The next ones are A(dim) - D / A7 - D. 

I can see why you’ve written Cm because A(dim) is a bit like Cm, and as it makes a perfect cadence to D, because you thought it was Cm, and you heard the 4th-up, you assumed it went to F. But at its most basic it’s A-D - well it’s some of the notes from A(alt), then D7. (Listen to the cello)

And the last bar is an A (not Am) and the D is not augmented (that descending line just stops at the minor 7th); then yep it makes a perfect cadence to G. 

Anyhoo your overall description of what’s going on is basically great

I hadn't thought of the mini modulation to C, which makes sense, as a way to bridge the jump up to F. 

Thanks for the chord corrections! I do need to train my ear some more. Another error I commonly make is mistaking a simple major chord for its relative minor 7, particular is more jazzy progressions.

It is interesting composing to go from a minor ii - V (A dim - D), and then changing the movement to a secondary dominant movement (A7 - D), not something I've paid attention to before, but it works so well!

Looking at the chords again, I would think there are 3 modulations in the following progression:
Ebm Bb | Fm C | A(dim) - D | A7 - D | 

Bb to C (the mini modulation) to G minor (A(dim) - D, which also happens to be the relative minor of Bb) to G major (A7 - D, secondary dominant movement)! really clever!

Another really cool bit which happens in the song takes place at 0:23-0:28, which I've bolded below:

Bb | Dm | Dm7b5 - G7 | Cm |
Ebm | Bb - Bb6 | Ebmaj7 - A7| D |

I would've expected the Ebmaj7 to be a Em, to make it a simple ii - V to D, but we get an Ebmaj7, which I dont really understand, the best explanation I can think of is that it is similar to a tritone sub? Really perks your ears up. 

Yep indeed. It’s a bII-V-I. 

The bII-V-I deploys the awesome Neapolitan 6th, which is usually used in the minor key (bII-V-i), but you can use it in major as well. 

It’s built off the phrygian (at least in minor it is). The “6th” that it refers to is a minor 6th, (not an augmented 6th as in the French, German and Italian 6ths), and is constructed as follows:

You take the bII chord and play it in 1st inversion, and miss out the 5th, so you just have the 3rd and the octave of that bII. In this case over your Eb chord that would be the G and the Eb above, which is a diminished 6th (G A Bb C D Eb)

Those 2 notes then pincer into the V chord, which is A - the G goes up a tone to A and the Eb goes down a tone to C# - so you have the 1st and 3rd of A (or A7), ready to resolve to Dm (or D). 

In this song it’s not quite a Neapolitan 6th because a) the bII chord isn’t inverted so you lose the 6th anyway, and b) because he’s singing those Ab and A notes which rather get in the way of the pincer movement that the Neapolitan does so well, so probably best just to call it a bII V I. 

Incidentally, the next two chords that return us to the home key are F and Bb. So we have Eb A D F Bb, which is a really odd progression and puts me in mind of Giant Steps. 

Branshen

@viz I've just read through the neopolitan 6th Wikipedia page, having never heard of this concept before.. Your musical theory knowledge is really impressive!! Can't wait for your book! 

viz

Branshen said:

@viz I've just read through the neopolitan 6th Wikipedia page, having never heard of this concept before.. Your musical theory knowledge is really impressive!! Can't wait for your book! 

Cheeeeers old fellow!! - though I’m really just  medium-level; when I listen to proper professional jazz musicians or classical academics talking I’m shafted. The book’s basically finished but it’s really just a personal project, if u know what I mean