Chick Corea's 500 Miles High analysis:

[MaxShlochz]

Hello, I wanted to ask some questions about Chick Corea's awesome tune: 500 Miles High.

This piece has a few strange progressions that I find hard to understand,
I thought of a few ways of "why does it work?" but they seem a bit too complex.

Here's the progression:

Em7--Em7--Gm7--Gm7

Bbmaj7--Bbmaj7--Bm7b5--E7

Am11--Am11--F#m7b5-- F#m7b5

Fm7--Fm7--Cm7--Cm7

B7-------->back to the top.

Here's the pdf, if you want to see it better and with the melody aswell:

http://www.ethosbrasil.com/parts/Jaz...HMilesHigh.pdf



My questions:

1.The part that I marked in bold and underlined it, why does it work?

I can understand that it's non functional harmony and should be explained non functually
so please explain it well if it is. (Because I have no idea what's the logic here)

2. [Less important question)
The part where it goes from the Am11 chord to the F#m7b5 chord is to advance to Fm7 in a more chromatic way right?
(since F#m7b5 and Fm7 is almost identical chords)

[JoeB]

There are some good thoughts here from a couple guys who also post on this forum.

One post then references this video with an awesome analysis of the piano solo by the division head of graduate studies and piano department coordinator at the University of the Arts.

Also available from Chick's official transcriber is this book of solo transcriptions.

These resources should be a good start on answering the "why" questions regarding the chord progression. The video analysis of the solo focuses more on the melodic vocabulary rather than the harmonic, although that provides harmonic clues. The transcription book also focuses more on the solos, but it may have good insight into the harmony as well. I'm going to try to get hold of a copy.

[JoeB]

Originally Posted by MaxShlochz

The part where it goes from the Am11 chord to the F#m7b5 chord is to advance to Fm7 in a more chromatic way right?
(since F#m7b5 and Fm7 is almost identical chords)

Well, F#m7b5 has three different notes out of four than Fm7, but the chromatic movement idea is valid. Factoring in the reduced melody, the D note gives a D9 flavor to the F#m7b5. If we theorize that the previous Am is a key center, the F#m7b5 (VIm7b5) can be heard as a pivot chord into a C key area. Then we have #IVm7b5 (related to chromatically altered subdominant II7) progressing to IVm to I (minor in this case).

The previous Bm7b5 to E7alt to Am sets up a similar m7b5 pivot possibility. The reduced melody also gives Bm7b5 a G9 flavor, giving a possible analysis of bVII7 to I (Am). E7alt can then additionally be heard as an alteration of the G7 as well as V7. If you hear some subdominant flavor for the Bbmaj7, then the Bm7b5 can be pivoting as #IVm7b5 in F. This subdominant flavor might have be established by the previous Gm7, since the strong E melody note definitely invokes a IIm7 flavor. Lots of possibilities here.

[MaxShlochz]

Originally Posted by JoeB

Well, F#m7b5 has three different notes out of four than Fm7, but the chromatic movement idea is valid. Factoring the reduced melody, the D note gives a D9 flavor to the F#m7b5. If we theorize that the previous Am is a key center, the F#m7b5 (VIm7b5) can be heard as a pivot chord into a C key area. Then we have #IVm7b5 (related to chromatically altered subdominant II7) progressing to IVm to I (minor in this case).

The previous Bm7b5 to E7alt to Am sets up a similar m7b5 pivot possibility. The reduced melody also gives Bm7b5 a G9 flavor, giving a possible analysis of bVII7 to I (Am). E7alt can then additionally be heard as an alteration of the G7 as well as V7. If you hear some subdominant flavor for the Bbmaj7, then the Bm7b5 can be pivoting as #IVm7b5 in F. This subdominant flavor might have be established by the previous Gm7, since the stong E melody note definitely invokes a IIm7 flavor. Lots of possibilities here.

Ohh right, I, for some reason thought that Fm7 is a Fmaj7 and that's why I
said they're almost identical but you did answer fairly well,
because I looked at Fm7 as I chord (I-V [Fm7-Cm7]) rather than as a IV which makes it a lot more suitable.

So thanks for that.


One more thing about the first part of the song, I did see the video but it mainly focuses on Chick's solo rather than the song's harmony just like you said.

Yesterday, I discussed this song with another musician,
he told me he sees it this way:

When it goes from Em7 to Gm7, Em7 goes to it's major relative
(only of course the problem for me is that it's a minor chord and not a major chord)
and then the Gm7 goes to Bbmaj7 because it is Gm7's relative major.
(which makes sense)

So I would like to ask you,
can you also see this as a valid way of analysis of this tune?

[Mike A]

Originally Posted by MaxShlochz

Em7--Em7--Gm7--Gm7

Bbmaj7--Bbmaj7--Bm7b5--E7

Am11--Am11--F#m7b5-- F#m7b5

Fm7--Fm7--Cm7--Cm7

B7-------->back to the top.

Root motion up the diminished sequence (E > G > Bb) often seems to work, regardless of chord quality.

Also in Forest Flower, all in minor (Gb > A > C > Eb).

[MaxShlochz]

Originally Posted by Mike A

Root motion up the diminished sequence (E > G > Bb) often seems to work, regardless of chord quality.

Also in Forest Flower, all in minor (Gb > A > C > Eb).

Yes, I definitely thought of the diminished but couldn't really make any conclusions from it because I thought it was just a coincidence, I also remember how I scratched my head on Forest Flower so thanks for that.

But just to clear things up, it possible to make this kind of progression and it'll work? (by your explanation)

Cmaj7 -- Ebmaj7 -- Gmaj7 -- Bbm7b5 -- Db9 -- Cmaj7

[JoeB]

Originally Posted by MaxShlochz

One more thing about the first part of the song, I did see the video but it mainly focuses on Chick's solo rather than the song's harmony just like you said.

Yesterday, I discussed this song with another musician,
he told me he sees it this way:

When it goes from Em7 to Gm7, Em7 goes to it's major relative
(only of course the problem for me is that it's a minor chord and not a major chord)
and then the Gm7 goes to Bbmaj7 because it is Gm7's relative major.
(which makes sense)

So I would like to ask you,
can you also see this as a valid way of analysis of this tune?

I'd say that is turning the dial too far to the functional side. One main concept of non-functional harmony is that the chords do not team up to progress toward a key-defining tonic chord. Em7 to Gm7 in this case is most likely a pleasant succession of chords rather than a progression.

With the emphasis that is put on the E note both in the melody and improv, Gm7 has what is typically called in modal jazz the Dorian flavor; the Bbmaj7 is heard as an extension of that, not as Imaj7.

[jazz oud]

Originally Posted by JoeB

I'd say that is turning the dial too far to the functional side. One main concept of non-functional harmony is that the chords do not team up to progress toward a key-defining tonic chord. Em7 to Gm7 in this case is most likely a pleasant succession of chords rather than a progression.

With the emphasis that is put on the E note both in the melody and improv, Gm7 has what is typically called in modal jazz the Dorian flavor; the Bbmaj7 is heard as an extension of that, not as Imaj7.

I would agree with this. In general, a parallel structure can go anywhere in modern jazz harmony.

But if you were to take the "relative" idea, it's more like this:
Em is the rel. minor of Gmaj (and Em7 is an inversion of Gmaj6)
Em7 - Gm7 is like Gmaj6 to Gm7, which is parallel. From a voice leading standpoint, it's possible to hear it this way, with only the root motion being different.

The way I hear a lot of modern harmony is as voice leading events over atypical bass motion; as an exercise, try taking the guide tone line from a functional tune like Autumn Leaves and see how you can write a completely different bass part.

[Mike A]

Originally Posted by MaxShlochz

Yes, I definitely thought of the diminished but couldn't really make any conclusions from it because I thought it was just a coincidence, I also remember how I scratched my head on Forest Flower so thanks for that.

But just to clear things up, it possible to make this kind of progression and it'll work? (by your explanation)

Cmaj7 -- Ebmaj7 -- Gmaj7 -- Bbm7b5 -- Db9 -- Cmaj7

Diminished sequence:

C > Eb > Gb > A

[michaelsorg]

Originally Posted by MaxShlochz

Ohh right, I, for some reason thought that

Yesterday, I discussed this song with another musician,
he told me he sees it this way:

When it goes from Em7 to Gm7, Em7 goes to it's major relative
(only of course the problem for me is that it's a minor chord and not a major chord)
and then the Gm7 goes to Bbmaj7 because it is Gm7's relative major.
(which makes sense)

So I would like to ask you,
can you also see this as a valid way of analysis of this tune?

I don't think this is invalid. It's a device that can work both ways: A minor chord going up a min 3rd to min turns the relative major chord into minor, and darkens the sound. A major chord moving down a min 3rd to a major chord will brighten the color, turning what would have been minor to major. But Joe has a point - you don't need that much functonal explanation. I often like to analyse non-functional tunes in terms of motion around the cycle of 4ths. So from Em to Gm, you jump at least two places to the flat side. Again, darkening the sound. Gm to Bb just changes the inversion, but has a brightening effect. Bbmaj7 to Bm7b5 is interesting, because you're moving to the sharp side, but the chord Bm7b5 is darker relative to the interaction of overtones. That becomes part of the ii-V-i in A minor, which is, in my opinion, the new key. Then F#m7b5, again a move to the sharp side, but a darker sounding chord than A min. The move to Fm is not totally unexpected, since we're still in the key of A minor, and the tone F Ab (G#) C are found in A harmonic minor, and Fm can inversionally substitute for E7b9 (think of 7th mode melodic minor). But this ends up being a minor iv after all, and we've made the jump once again to the minor chord (C min) built on the root that would have taken a major chord!

[MaxShlochz]

Originally Posted by Mike A

Diminished sequence:

C > Eb > Gb > A

That's correct, I did a small mistake there.

Originally Posted by JoeB

I'd say that is turning the dial too far to the functional side. One main concept of non-functional harmony is that the chords do not team up to progress toward a key-defining tonic chord. Em7 to Gm7 in this case is most likely a pleasant succession of chords rather than a progression.

With the emphasis that is put on the E note both in the melody and improv, Gm7 has what is typically called in modal jazz the Dorian flavor; the Bbmaj7 is heard as an extension of that, not as Imaj7.

I sort of understand your explanation but I feel I lack some knowledge about non-functional theory.
For example, when you say "a succession of chords" or "the Dorian flavor", I have no idea what you're talking about.

Can you recommend a book, a pdf or anything else, that explains nice and simply about modern model jazz?

I've seen a few posts that talk about "Lydian feel" and "Dorian feel" as you've mentioned and I really want to know what's all the talk about.
(At first, I thought to ask all of you what's modal jazz but I think that's like me asking you to write a book for me, if I'm not wrong)

[JoeB]

Originally Posted by MaxShlochz

I sort of understand your explanation but I feel I lack some knowledge about non-functional theory. For example, when you say "a succession of chords" or "the Dorian flavor", I have no idea what you're talking about.

Can you recommend a book, a pdf or anything else, that explains nice and simply about modern model jazz?

I've seen a few posts that talk about "Lydian feel" and "Dorian feel" as you've mentioned and I really want to know what's all the talk about.
(At first, I thought to ask all of you what's modal jazz but I think that's like me asking you to write a book for me, if I'm not wrong)

This is often the right place to come if you would like a book's worth of explanation, but's let's try to keep it as simple as possible. This might take several posts though.

I feel it is important to use the correct theory at the proper time and not mix them unless needed. In a purely tonal setting, there is no need for modal theory. Pure modal music has its own theory and no tonal theory is needed. Then there is the post-bop evolution sometimes called modal jazz, where both theories can peacefully coexist.

The first concept to clarify is chord progression. Progress means moving toward a goal or destination. We start with a feeling of being in a home state, leave that state somehow, and gradually make our way back. Both the progress of the chords and the melody are factors in the amount of progress being made. This is tonal music and functional harmony.

The home state for both the melody and harmony is referred to as the tonic. Any other chord can follow the tonic chord. In tonal music when we hear the second chord, we are often leaving home. From this chord of departure we want to progress to other destinations and finally return home. The most common bass movement in functional harmony that gives a sense of progress is down an interval of a fifth (up a fourth). Melodically, the tonic defining (stable) scale degrees are 1, 3 and 5. The other scale degrees (2, 4, 6, 7) are called active tones. In functional music, the active tones usually move to stable tones.

To summarize, functional harmony utilizes familiar bass motion and melodic tendencies to progress to a tonic (a goal). This tonic can be either the tonic of the overall composition or a temporary tonic that makes up part of the journey.

In non-functional hamony, the concept of progress toward a goal is often not the main effect desired. For example, we may want an overall effect of just floating around. We can sound chords simply because they sound good or fresh. If we string two or more chords together that do not participate in progressing toward a destination, this is called a chord succession rather than a chord progression. The composer might be trying to give new meaning to the chord movement, or just enjoying the sound of that chord at that particular time. Similarly, in non-fuctional harmony the active tones often do not move to the traditional stable tones, providing a different melodic effect.

It really is basically this simple (although the details can take books or entire courses of study). Where it gets interesting is that a tune can be completely non-functional, or a functional tune can have non-functional experiences along the journey, or a mostly non-functional tune can utilize functionality to great effect.

[JoeB]

Now for the modes (at least as they are commonly understood in jazz). I think you will learn them best if you discover them yourself through hearing.

Play a C major scale (C D E F G A B C). Now play the C major scale but start and end with the second note (D E F G A B C D). This is the sound of a Dorian scale or mode. Compare the sound of the D Dorian scale to the D Major scale and identify the notes that make them different.

Do the same starting from every note in the major scale. Using the notes of the C major scale, the modal names are:

C to C: Ionian (the major scale)
D to D: Dorian
E to E: Phrygian
F to F: Lydian
G to G: Mixolydian
A to A: Aeolian (Natural Minor)
B to B: Locrian

Similarly to the D Dorian vs D major scale sound comparison, compare E Phrygian to the E Major scale, F Lydian to the F major scale, etc. Let me know what you discover the differences to be.

For the major modes (containing a major 3rd above the mode's root note), the difference is the characteristic note. If the mode is minor (containing a minor 3rd above the mode's root note), the characteristic note is the difference compared to the parallel natural minor scale.

Start with Lydian and Mixolydian.

[MaxShlochz]

Originally Posted by JoeB

Now for the modes (at least as they are commonly understood in jazz). I think you will learn them best if you discover them yourself through hearing.

Play a C major scale (C D E F G A B C). Now play the C major scale but start and end with the second note (D E F G A B C D). This is the sound of a Dorian scale or mode. Compare the sound of the D Dorian scale to the D Major scale and identify the notes that make them different.

Do the same starting from every note in the major scale. Using the notes of the C major scale, the modal names are:

C to C: Ionian (the major scale)
D to D: Dorian
E to E: Phrygian
F to F: Lydian
G to G: Mixolydian
A to A: Aeolian (Natural Minor)
B to B: Locrian

Similarly to the D Dorian vs D major scale sound comparison, compare E Phrygian to the E Major scale, F Lydian to the F major scale, etc. Let me know what you discover the differences to be.

For the major modes (containing a major 3rd above the mode's root note), the difference is the characteristic note. If the mode is minor (containing a minor 3rd above the mode's root note), the characteristic note is the difference compared to the parallel natural minor scale.

Start with Lydian and Mixolydian.

Well, I do know all the modes and how are they constructed but what I don't get is what kind of harmonic ideas can you get from them except the fact that they're from the C major scale:

(from similar to less similar)
F Lydian vs C Ionian, Lydian has b5 while Ionian has a perfect 5th.
G Mixo vs C Ionian, Mixolydian has b7, Ionian has a 7th.
D Dorian vs A Aeolian, Dorian has a raised 6th.
B Locrian vs A Aeolian, B locrian has a minor 2nd, and a b5 while the Aeolian has a perfect 5th and major 2nd.
E Phrygian vs A Aeolian, Phrygian has a minor 2nd while Aeolian has a major 2nd.

I can understand the modes and how they're built but I don't see any relations between modes and non-functional harmony, so please continue.

[JoeB]

Originally Posted by MaxShlochz

Well, I do know all the modes and how are they constructed but what I don't get is what kind of harmonic ideas can you get from them except the fact that they're from the C major scale:

(from similar to less similar)
F Lydian vs C Ionian, Lydian has b5 while Ionian has a perfect 5th.
G Mixo vs C Ionian, Mixolydian has b7, Ionian has a 7th.
D Dorian vs A Aeolian, Dorian has a raised 6th.
B Locrian vs A Aeolian, B locrian has a minor 2nd, and a b5 while the Aeolian has a perfect 5th and major 2nd.
E Phrygian vs A Aeolian, Phrygian has a minor 2nd while Aeolian has a major 2nd.

I can understand the modes and how they're built but I don't see any relations between modes and non-functional harmony, so please continue.

Good, I thought you meant you weren't familiar with the modes. Your list is generally correct, except the characteristic note for Lydian is considered #11, as it is the 4th degree that is different and the mode also contains the 5. Once the characteristic notes are determined, typically the modal scale degress are analyzed in relation to the major scale. For example, the Dorian formula is 1 2 b3 4 5 6 b7.

So now look at the chords and melody in "500 Miles High". In measure 2 we have a sustained E note through the Gm7. This typically means Dorian. There are other possibilities too, for example G Melodic Minor if you carry over the F# from measure 2. The melody in measure 4 contains an F so giving the Dorian flavor.

You can experiment with the characteristic sound of the different modes. The characteristic note sounds fantastic on the major modes. On the Bbmaj7 for example in measure 5 the E note (#11) can be held as an extension, where the normal Bb scale degree 4 can only be used as a passing tone and sounds out of place since the E note is melodically used before and after the Bbmaj7.

The minor mode characteristic notes are "avoid notes" in general on the chord, meaning you usually do not hold them on the chord but use them as melodic flavoring. For example, experiment with the first Em7 using different modes. Try E Natural Minor (G Major) vs. E Dorian. E Natural Minor has the C (b6) note. The purpose of this note is to make the B (5th) note sound sad. When you play E Dorian the C becomes C# and the feeling is much brighter. Once through the tune form we are coming from a final destination of Cm that the melody ("five hun-dred mi-les high") has introduced with an Ab (b6) suggesting natural minor and confirming Fm7 as a IVm chord. After the B7alt brings us back to the top Em7, you might want to keep the C note of that previous cadence. Depends what you want to do with your paint brush.

Other than the E on Gm7 and the Ab into the Cm11, the melody does not use either b6 or 6 on the m7 chords. I think these notes are also avoided in the piano improv, so as not to imply any mode and producing even more of a floating effect. Sometimes the chord combinations might suggest a mode; Before the Am11 we have chords and melody that contain an F note. Do you carry that into the Am11 or also give this chord a Dorian flavor? The following F#m7b5 might be suggesting that this is a Dorian feel continuation. But in pure Dorian modal harmony, the VIm7b5 is an avoid chord. F#m7b5 is also a diatonic chord in A Melodic Minor. This is what I mean by adjusting the dial between pure tonal at one end and pure modal at the other. You are in control of the flavor produced.