Girl From Ipanema Chords (Bridge Analysis)
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- čas přidán 11. 12. 2019
- The Girl From Ipanema is a beloved jazz standard by Antonio Carlos Jobim and lots of people like to play this song. It has a beautiful melody but the bridge is really complicated to understand.
So, in today's video, I'm going to be going over a full-on chords analysis of the bridge of the Girl From Ipanema, so you can understand it better and therefore, play the song better.
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That is the RIGHT way of analysing it. Simple and elegant, just as the composer intended. I think most great songs that seem complex are actually alot more simple than meets the eye.
If you carefully listen to Claude Achille Debussy’s Clair de Lune, you will hear part of this bridge. In Les Arabesques you can hear other « lines » of this bridge. Jobim was inspired by Debussy and you can hear this influence in many of his songs (Double Raimbow-Chovendo na Roseira, is based on Debussy’s Rêverie). Classical music as a whole inspired Jobim more than jazz. For instance, How insensitive-Insensatez is based on Chopin Prelude 4 in E minor. This is the genius of Jobim, mixing several influences to help create a new genre called bossa nova.
Yes, I think you cracked the code. But, one thing I might add....In bossa nova music, you constantly hear the maj7 to maj6 (ex. Amaj7 to A6) vamp or chord progression that is so pleasant to the ear. That is the exact same thing as Amaj7 to F#min7(2nd inversion with 5th in the bass) or 1 chord to 6 chord vamp. So, said another way, the F#min7 chord, is exactly the same thing as the A6 chord with the 6 in the bass....(is that called a 3rd inversion? I think so). Anyway, I'm just saying the same thing as you said, but in a slightly different way). But, for me, this way simplifies it a bit and just has Jobim choosing the Tonic6 chord (but, yes an inversion of it) instead of the TonicMaj7 chord in each chromatic ascension. I hope this makes sense to people. Whatever works for your brain is the best, I suppose.
This is a nice way to remember it too!
That’s kind of how I hear it too, if you put a bass in the mix. The A feels more “rooted” than the F#.
Excellent analysis. I've been playing that song for 40 years and can now understand why the bridge just "feels good" with that chord progression.
It was very clear and simple 🎉
Perfect! I see the bridge as maj to min a motion in harmony that happens all the time...F# maj to F# Min...Amaj to A min...Bb Maj to Bb min...then turn around to home. The root motion defines the chords but the harmonic sound is still maj to min. Makes it easy for me to hear :)
Thanks for putting words to what we instinctively hear.
This bridge is one of the most ingeniously crafted progression. I agree how you analyzed it was most likely what Jobim intended. I wonder if he intentionally used long notes to create the sense of modulation too. There's this sense of ascension almost, in the whole bridge part. And where do you end up? Eb7, just happens to be the bVII7 of the original key. Then it's good old 3625 back to home. A pure joy of sound.
i'm shredhead, metal mfer, and i decided to play this song for a thing... i had no idea what i was getting into... lol
There is a relationship between F#-7 and D7 (really D9, but extensions can usually be implied). If you look at D9 and remove the root, we have F#-7b5. So really all the voice leading we need to transition from F#-7 to D7 is to lower the 5th by a half step. This may or may not be what Jobim intended, but it is a useful tool and way of thinking for creating chromatic ascending bass motion since then D7 can function as a V of G-7.
Thanks for this; the bridge has always bedeviled me harmonically.
thats a great way to look at it. I never thought of the iv as a sub for the 1 chord. thanks!
Actually the vi chord is subbing for the I, but my analysis is based on a I-IV relationship
This clears up a lot of club date PTSD on this tune..makes me want to play it again!
haha! Nice!
Wow, mystery is resolved! Thank you 😊🙏
Lovely exposition. Thank you.
Brian Mason glad you found it helpful!
F sharp minor 7 = A major 6
True
Great analysis!!! Absolutely, it makes sense. Thank you!!!!
Fantastic, very helpful analysis!
Glad you found it helpful!
Brilliant !!! so helpful.
What an amazing reason to make a video! 😃
thanks!
No problem!
I also ended up with this kind of analysis. That's why I always end up playing IV7's as the diatonic IVmaj7's. When I got in a big band who played with scores, I saw the chords you have here.
chromatic ascending root movement is essentially how i think of the bridge.
Yes, that's definitely an important part!
@@Learnjazzstandards I love the E# over the F#major 7 chord at the start of the bridge!
Yeah man!! Great job on it! I will share it! :D
Great Analysis.... How About a Full Analysis of the Whole Song?? I'm looking forward to that.. Greetings from Suriname.....
Hey Selmon, check out my Jazz Standards Playbook Vol. 2 in the description!
Good video! I would not try to draw from the blues to build a harmonic analysis. Those IV7 chords come from the parallel melodic minor.
Had the se analysis, key is to understand any major chord has its substitute minor « tonic » chord. Same with the verse « FM7 (=Dm) G7 Gm7 Gb7(=C7#11) FM7 » basically the Isnt she lovely progression (iv II7 ii V I)
It seems that everyone likes to play this tune in a different key than the original.Even Stan Getz in his quartet concerts changed the key.It seems more challenging to do it in the original.
Instead of thinking of these as Imaj7-IV7, I Think of them as IVmaj7-bVII7, the backdoor progression, just in different keys. Ofcourse the IVmaj7 can be substituted for the IIminor7(9). They are both subdominants. If you think of it that way, you just think F#lydian(Db is the parent key) to Bmyxolydian#11(this comes from F#melodic minor, backdoor is like a minor plagal cadence) on the B7 (making it a B13#11 with all the extentions, this is a nice scale to use on backdoor progressions). Then just switch keys, to E, a minor third up. This time play the Dorian on F# to MIxolydian#11 on D, then do the same in F(half step up). Gdorian to Dbmyxolydian#11, then it finally resolves to a iii-VI-ii-V-I in F
Hopefully that makes sense.
Also a similar progression can be found in, 'Days of Wine and Roses'. It's in the key of F and in the end of the A section you expect a ii-V-I back to F. Except after the ii it doesn't go to the dominant but to the backdoor bVII7. Then it doesn't resolve to the I chord but to the iii chord(a common substitute for the one as a form of delayed resolution). Then it resolves trough the cycle of 5ths back to the one, iii-VI-ii-V-I. So the chords are basically the exact same as the ones from that part from the girl from ipanema. From the gmin7 all the way to Fmaj7, the green and blue section in this video, so all of that can then be thought of as if it's in the key of F. In a way you can think of the bVII7 chord as just another substition for the dominant chord, since both can bring you back to the tonic. So instead of IV-V-I or ii-V-I you can go IV-bVII-I or ii-bVII-I or any variation on that.
Jobim often use ´´Imaj7 - IV7´´ or derivatives, makes sense this analisys, Jobim likes modal flavors in his music, and the IV7 brings dorian/melodic minor flavor. I dont speak english, sorry for grammatical errors.
Check these examples:
The Wave (jobim) intro - (Im7- IV7 ) ->Imaj7
Look at the sky(jobim)- Imaj7- Im7- IV7 - Imaj7
Fotografia(Jobim)- Imaj9- IV7 - Imaj9
Girl from ipanema(jobim)- Imaj7- IV7 (but tranposes in Gbmaj, A maj and Bb maj),
it could be like that too Imaj7- Im7-IV7 (Pery Ribeiro version), like ´´Look at the sky´´ progression, works on girl from ipanema too.
that's the way i think
, and the way I think Jobim thought
Your saying exactly what he is saying
Fmajor chromatic to F# major
Fmin(i melodic minor)
B7(IV melodic minor, aka Mixo#11 aka lydian b7)
Then f# is like a vi to D major
D7 then Eb9 is the tri tone of
E ii, A V7 , I D7
Then iii iv ii V Back to the parent key
Hey, you did a great job with the analysis but it would important to acknowledge that "Garota de Ipanema"(Girl from Ipanema) is a classic from Bossa Nova, a Brazilian music genre. It was later incorporated into the jazz standards just as many other Bossa Nova songs such as "Wave", "Water to drink", etc... All these songs were composed by Brazilians, in Brazil, and have their original lyrics created in Portuguese. Although they become very popular in US they belong to the Brazilian Culture.
I agree it follows the melody going up chromatic and the I to IV7. Blues thing . i'm going to try that, instead of thinking what i though before which was...
B9 is the V of ii F#
D9 is the "V7" of iii Amin
F major is the parent key
Flipping a V7 into a IV7 a II7 is just the blues in my book!
I think when you have chromatic movement on a ii V the T.T is. V7 but it is a diminished or altered
The Tri tone is a wild card
It can be anything that sounds good
* But the I IV idea sounds better!
You are a genius and you are right ... but Latinos, we only feel Garota with the heart.
You could also look at F#m7 to D7 as Dma7 to D7. So basically, I chord.
how can I tell her I love her?
Here's the legendary musician Bob Strauch's version with his own lyrics: czcams.com/video/IDxLedytMm0/video.html
the bridge is a bunch of two bar phrases, with the last note always being the 3rd of a Dominant 7 chord
D7 & Eb7 are bVI7 of F#m & Gm.
Like the 9th bar of a minor blues.
I don't think there's even a second of A major in the tune.
Jazz? This is bossa nova man
Cancion culia esta re pelua.
wrong key ... D...
I’ve watched this for 3.5 min and all I heard was this dude talking,I think he likes to hear himself talk,thumbs way down,this really sucks.