Harmonic Analysis: Analyzing the Chords of "On Green Dolphin Street"

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Dive into the intricate world of jazz with our harmonic analysis of "On Green Dolphin Street." Discover the chord progressions and musical techniques that make this classic tune a favorite among jazz musicians and enthusiasts alike. Whether you're a student, performer, or simply a lover of jazz, this breakdown will enhance your understanding and appreciation of the song's harmonic structure.
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[@bebopisthetruth]

Elegant analysis of chords that always make me wonder. I love me some harmonic analysis, so more episodes like this would be fantastic. Thanks Marc!

[@jazzguitar]

More coming up! Thanks Barry!

[@cassweller39]

Great lesson. I hadn't thought of the chord in measures 3 and 4 as a VI dom function. Relying on the old Real Book 1 for chord melody I've always used the minor i/bIII major7 for measures 3 and 4 and Dom II and Dom V for measures 5 and 6.respectively. It lies nicely on the neck. So in Eb: Eb 6/9 at the 10th fret with Eb on 1st string and pedal Eb on 6th string; Eb min7 at 11th fret with Db on 2nd string, or Gma9, or Gbma triad on strings 321 with Eb on 6th string, or Dbma triad on strings 321 over Gb on string 5 and pedal on Eb on string 6; F9 ( 7th in the bass) and C on 2nd string; rootless Bb13b9 with 7th in the bass (5th string) and pedal on Eb (6th string)

[@gbattle]

👍🏽 good comparison of the two chordal transcriptions.

[@jazzguitar]

Thanks for watching :)

[@graemero5532]

Thanks Marc 👍🏻

[@jazzguitar]

Thanks for watching Graeme! :)

[@bradfordlaneromans2994]

I gotta watch this again 🤷‍♂️😅

[@alibiath35]

I think the simplest analysis is the best: The slash chords G-flat, F and E over pedal E-flat move down in half steps to E-flat. These chords are producing intensive and magic tension to the root. Yes, it's a hidden I - VI - II - V (-I) turnaround. I prefer playing simple triads in the root position above pedal E-Flat or voicings in fourth with - from the bottom - the third, the sixth and the ninth (for example E-flat has the tones G, C and F) and let them moving down chromatically over pedal E-flat. Another idea ist to play the tune on the guitar in E instead of E-flat, because you can use the open strings. You can use simple triads in rootposition and play the melody, the chords and a simple latin-bass-line (root and fifth of E-flat) all together as solo-version. Triads are a good choice, because the melody moves down in simple triads in rootposition in bar two and six. Triads sound a little bit archaic and mysterious over the pedaltone. Yes, I think in this case they sound more modern than the jazz-chords with four or five voices. It produces a "modal-feeling".

[@ksiazepaweek1064]

But how do u improvise on it? I just shift from minor to major anyway so it's easier to think as Ebmaj into Ebmin when improv

[@michaeldennisguitarlessons]

Marc, you are a great player and teacher. You have “reinvented the wheel” SO MUCH that the car is not going to go anywhere. Let the bass player or backing track provide the Pedal Tone depending on the Key of Choice (Eb,C). Improvise over each Major 7th with whatever you would typically play over that particular chord. For example, play Minor Pentatonics based from the 3rd or maj7th of each of the chords. Isn’t it “Interesting” the melody of the tune is only CHORD TONES. Use them for improvising. Overall, this theoretical analysis is unnecessary. One man’s opinion.