"JAZZLAB" est en route....une longue, longue route.

BUTS DE NOTRE CD ROM: l'utilisateur pourra lire les partitions des morceaux, écouter la version véritable (extraite du CD SAMAR: The Birth), écouter des exemples midi d'accords, de mélodies extraites des morceaux, et lire des explications, et de sérieuses analyses musicales faites à partir de ces mêmes morceaux (voyez ci-dessous ...mais cette analyse est bien entendu réservée à des personnes possédant de bonnes bases musicales).

Vous trouverez des généralités quant à l'analyse musicale ainsi que l'analyse de Nikaia. Mais ici, aucun son. Ni l'analyse du second morceau, Bicycle girl .

De plus, nous sommes désolés de ne pouvoir vous offrir actuellement de version française du texte de JAZZLAB.

GENERALITIES OF JAZZLAB

1- INSTRUMENTS

In Jazz all the instruments can be used, but here are the main ones :
Trumpet, saxophone, trombone, piano, guitar (acoustic, electro-acoustic or electric), double bass or electric bass, drums ; you will find also : voice, vibraphone, percussions, and today the ethnic instruments.
Then the choice will depend of the orchestra you have. We have 2 main groups :
a little orchestra and a big band ; the little orchestra will be composed of different instruments according to the period :

In the old style (new orleans-20-ties or dixieland which is a new orleans revival) the group is often a sextet, a septet or an octet : trumpet, clarinet, trombone, (sometimes saxophone), banjo, tuba (or soubassophon), piano (not always), drums or washboard.

Generally in the so called modern Jazz (after be bop, so from the 50-ties and 60-ties to now a day) a small group is divided in two : the melodic instruments or " lead " and the rhythm section. The rhythm section is very important because it's a small group that accompanies the soloists ; it's often composed that way : piano (or guitar), double bass and drums.
The lead instruments are often saxophone, trumpet, guitar, voice. Less often can be trombone, or vibraphone. The piano will be the lead instrument in the case of a trio.
These bands are often quartet, quintet or sextet.

A Jazz big band is generally composed of : 4 trumpets, 4 trombones, 5 saxes, the rhythm section :piano, double bass, drums, and eventually an added guitar, percussions or vibraphone and possibly a singer.
Sometimes the saxophonists also play flute, clarinet or bass clarinet, and are added a french horn or a tuba.

In a big band the music is often written " by sections ", which means that often similar instruments are grouped together and have a similar role : the trumpets and the trombones are often together, but the baryton sax can play with the trombones ; a lead voice can be played by a full section, or mixed, for exemple played by one trumpet and one sax (alto or tenor) as a unison (or harmonized for 2 voices).

With a 4tet or 5tet, the lead instrument plays the melody if he is alone. If there are 2 or 3 lead instruments then the melody is played unison or with different voices which makes it very interesting because we will have nice harmony nuances played with the melody.

Let's have a look on the instruments we have in this CD.

The trumpet is a wind instrument, of the brass group. It has only 3 valves which makes it difficult to play : the player has to create the sounds from his blowing by the pression and with the lips. Its normal range is 2 octaves and a half; the low range doesn't sound very loud and not so good, but the high range ! Yes, it can be very loud. A very good instrumentist can play higher than the normal range by playing upper harmonics.
Main trumpets are in B Flat (this means that when the trumpetist has the note C in his score, it sounds as B Flat). There is also C, A and D trumpet but they are not used in Jazz.
The trumpet can have nice different colors using mutes ; there are different mutes like bucket, straight, plunger, harmon and cup (to make the wa-wa or jungle effect).

What we said about the trumpet is quite similar for the trombone.
You have another kind of trumpet called flugelhorn that sounds softer than a trumpet.

The saxophone looks like a brass because of its colors but it's actually a part of the wood-winds instruments, because of its mouthpiece which is like the clarinet's one. To make it sound you need to put a reed on the mouthpiece, which is a real difficulty because it's not easy to find a reed that is good, or that fits you. But then when you have a good reed, you blow and the sounds are all played by moving the fingers on the keys ; easier than with the trumpet. But to get a " good " sound, this is not easy ! This is a real difficulty. It will take years to find " your " sound. And then you have to find your phrasing…
There are different transpositions for the saxophone. Main are B Flat and E Flat, even if a long time ago there existed the C saxophone. Today we have 7 types : from high to low are the sopranino, soprano, alto, tenor, baryton, bass, contrabass.
The B Flat ones are : soprano, tenor and bass.
The E Flat ones are : sopranino, alto, baryton and contrabass.
The most used are tenor and alto ; the soprano and baryton are used sometimes. The sopranino is almost never used and the bass and contrabass (so big that you can't move it) neither.
The saxophone has 2 octaves and a half (all have the same fingering) and good players can play higher by playing high harmonics.

We can say in general that all wind instruments are more difficult to be played fast at their extremities (low and high) ; this is less true for the piano and the strings instruments. What should we say about the drums ? Hmmm…

About the piano we are not going to say a lot. But it gives many advantages because it's a string instrument as well as a percussion one. In the band it has several roles : to play harmony, to be rhythmic, and of course to behave as a melodic instrument too.
Its large range (the largest among all the instruments) offers many possibilities.
The piano is very heavy, which is not always convenient, mainly if you want to play in a place where there is no piano ; the trumpetist will come with his horn, but the pianist…
Today it exists many different kinds of electronic keyboards that help you to play where there is no piano. This is an advantage, right. But I have to say that it can't be considered as a piano ; it's another instrument. The sound is never the same, and the feel you have under your fingers neither.
When a pianist plays with other instrumentists, these others have to be carefull if they want to hear their pianist friend ; but today the piano is generally amplified (for concerts).

The double bass (we speak of double bass more than electric bass because it's characteristic in Jazz) generally plays the harmony : the bassist has to invent a bass line (called walking bass) that passes through the chords, the harmony. He defines the harmony. He plays in symbiosis with piano and drums. One of the difficulties of that instrument is to play in tune. It' hard for a beginner to play the wright pitch. Another problem : the strings are very big. It's not easy to play fast on a bass, but in Jazz one of the main problem is to build a good bass line. The bassist soloes too : another possibility of the bass.
Before the bass was not amplified but today most bassists use amplification.

The drums is a part of the percussions group. You play it with 2 sticks, brushes (to play very soft), and sometimes with the hands (very rare).
To accompany a good drummer has to listen very well to the others (his instrument can be very loud !) and while playing he can follow or pull the others, or give initiatives.
The drums, even if they don't have real notes, provide a lot of different colors, which depends on the way the drummer plays but also on the different instruments that compose it : the snear drums, the toms, the bass drum amd the cymbals (eventually cow bells).
In Jazz the drummer generally uses the cymbals to play the tempo (or swing, shuffle, this characteristic pulsation we have in Jazz where the 2 important beats are the 2 and the 4).
He plays it differently according to the cymbal he uses (large, small, rides, chinese, splash, charleston). The charleston cymbal can be played with the sticks or either with the foot by the help of a pedal (as the bass drum). The " charley " doesn't play loud and often plays the after-beat (2 and 4). The other cymbals can be very loud.
The snear drums can be played with or with no timbre, but generally the timber is put. On the snear the drummer plays little rhythmic interventions or rolls.
The bass drum and the tom-toms (high, medium, bass) are not so bright than the previous ones.
Latin rhythms are often played on the toms. In a big band the bass drum plays the strong rhythmic attacks played with the all orchestra.
In a small place, it's not usefull to amplify the drums even when other instruments are : it's loud enough.
Of course the drummer plays solos too ; it was not the case in new-orleans or " swing " styles -during the 30-ties- but with the appear of be bop the the drummers, as all instrumentists, got new possibilities, and to solo was one of them.

2- ARRANGEMENT

We are going to talk about a jazz arrangement. This is different from a symphonic piece or a song…because jazz includes a large part of improvisation, as you know. An arrangement can be written or oral ; in jazz you may have a mix of both. Generally the melody is played once or twice, and can be embellished by harmonisation (when you can use several instruments), breaks, rhythm ponctuations, little additionnal parts (introduction, interludes, anacrouse, coda), etc…
The usual Jazz arrangement (for little group) is : Introduction (or not), theme played once or twice, soloes, theme, and cut end or coda. You can then have added parts as : soli or tutti, interlude, breaks, free parts…
For big bands then it's more complicate because a large part of the piece is written.

3- STRUCTURE

The structure of a piece is the way you can organise it.
It concerns 2 points : the main parts and the additionnal ones.
When we talk about the main parts, we consider the melody, the lead ; so we call the parts with letters : A, B, C …
The additionnal parts are : the introduction, a soli, a tutti, an interlude, a coda…
In Jazz we have often 1 or 2 parts, sometimes 3 or 4.
The usual ways to organise these parts are : AABA, AAB, AABB.
The AABA is a frequent form, more than AAB or AABB. It is a way to play the motif A, repeat it to insist, to make you really feel it; then comes the B to bring another mood, and then comes the A again to remind you of the main motif.
The introduction, as you can guess is a short part, that is played before the principal part. It's generally related to the theme or can remind it. It can introduce it using a repetition of a small part of the melody, transposing it, or changing it.
But it can be different from it too.
Generally only one or some instruments play.

A soli is a written part for a group of instruments that is generally played in the middle of the piece or just before the group plays the last melody. It's generally related to the lead, to its melodic line or its harmony; but it can be different too.

The tutti is a little like the soli, but it concerns the all band and specially the big band.

The interlude is a short part played between 2 important parts to bring a kind of change, like fresh air.

The coda is a part added after the end, so it's the end.

4- JAZZ IMPROVISATION

Improvisation is a dangerous term ; some people can think that improvising is playing anything.
In general, improvisation has rules. It's generally related to oral tradition, cultural conventions. In Jazz it's a mix of conventions and very strict rules. On one hand the music is not written but on the other hands the musician does not play completly freely .
Here are the main rules of the improvisation in Jazz :
You have to listen to many records and CDs of all the Jazz history and not only from musicians that play your instrument, but from all instruments. You will learn how and what to play by discovering the different instruments of the Jazz orchestra : listening to the drums will give you a good sense of tempo, rhythm and metrics ; listening the the bass will show you very clearly the harmony ; listening to the comping of the piano (or the guitar) will show you also the harmony, but with different ways to play the chords(inversions) and also a varied rhythmic approach to them ; listening to melodic instruments will show you obviously how to play an improvisation, but with the limitations of the instrument, so you will have to adapt to your own one, and also to your own language ; everyone expresses himself with his own way and feelings. That's why when you listen to others, you don't want to copy, but to learn a language, an accent, different ideas.
You must know very well the theme, the structure of the piece and the chords that compose it.
You must know harmony, that means all the possibility of chords and scales, to have a large palette or range to develop your improvisation.
You have to listen to the other musicians you are playing with, and not to be concentrated only on your work.
Improvising Jazz is like speaking a language, and the natural way we all learnt to speak our mother tongue was first to here it spoken by others. You should therefore listen a lot to improvisations by the masters of Jazz, to have a large view of the Jazz language, to know how to articulate your music, and find a way to express yourself ; it does't mean that you have to copy, but you can be influenced by some musician you like specially, and then look for your own way.

FIRST PART OF JAZZLAB: analysis of NIKAIA

TITTLE NUMBER 1 : NIKAIA by PIERRE LEVY (Co 1994)

Original version [WAV 1] played by The PIERRE LEVY QUINTET in SAMAR: THE BIRTH
Duration of the piece: 4'37
MIDI accompaniment (x'xx) [MID 1]
The score (fig.1)
The parts : trumpet (fig.2) saxophone (fig. 3) piano (fig.4) double bass (fig. 5)
drums (fig. 6)

MUSICAL ANALYSIS

1. COMPOSITION

This piece is based on a riff played by the bass (fig. 7)[WAV 2] on Part A, and a modulation in the bridge,Part B. It is based on the minor mode [MID 2] : C minor for Part A and a modal parallel chord progression (A Flat minor, G minor, B Flat minor, B minor…) for Part B.
Jazz at the beginning was based on the " swing " feel (fig.8)[MID 2-1] [MID 3] ; during the years, it has been influenced and mixed with other kind of music (rock, brasilian music, salsa or latin music…). NIKAIA is a good exemple of mixes : Part A is based on a latin rhythm [MID 4], but Part B is played with a swing feel.
Each part has a different melody .
Let's have a look on the composition itself :
Part A [wav2-1] : The main idea is the bass riff(fig.7)[WAV 2]. It was the first idea that came to the composer. It is even played before the melody enters, in the introduction. It shows that this riff is very important, may be even more than the melody. This riff is very simple : C, E flat, F, G and G at the bass octave, to bring back to C, the tonic. This is actually a repetitive syncopated motif that starts from the tonic, goes to the dominant and back to the tonic, as a perpetual movement. It is also very rhythmic, and can be dansed.
After this riff, the composer decided to write a melody : The first note is a long (8 beats) D which is the 9th in C tonality. The 9th [MID 5] gives a nice color in minor (as well as in major [MID 6]), and this long note is followed by an 8th notes phrase, itself followed by another long note (12 beats), F, which is the 4th [MID 7] in C tonality ; this one is played with a crescendo and decrescendo (starts very low, moves progressively to loud, and back to low) [MID 8]. This intensity variation gives life to the notes, and so to the music. The 4th is quite powerfull because it establishes a strong tension with respect to the tonality when played together; in minor tonality it gives a nice color, but in major, you must be carefull when you want to use it: don't play it in the same time than the tonic ! Then comes a silence (fig.9) of 4 beats : silences are very important in composition, because they give more power and signification to the notes. The last sentence of Part A [wav10] is an 8th notes phrase that leads back to the beginning, played above a rhythmical break (the rhythm section does not play, which creates an effect of surprise. Why do we go back to the beginning ? It is just a classical process to repeat a part (we will see that in Chapter 3 that talks about Structure). So the melody is played twice, and is followed by Part B.
Part B [wav2-2] : Even if we have 2 parts, with 2 different feels (latin and swing), the composer has chosen in his composition to keep a certain unity by using 9th as main notes.
So the melody repects the idea of Part A : it starts with B flat, the 9th of A Flat tonality; but to give another feeling than in Part A, the first melodic line is made of short syncopated notes ; it is then followed by a phrase leading to A, the 9th of G tonality. This melody is based on 2 bars of A Flat minor followed by 2 bars of Gm ; so the duration of that first sentence is 4 bars. These 4 bars will be repeated, but not exactly : the second time, the rhythms are different and some notes too -first time (fig.10)[MID 9] -second time (fig. 11)[MID 10]. Here we can talk about parallel similarity : the melody is based on a phrase that is repeated twice with some little changes, and built on 2 parallel chords.
After these 8 bars, the melody is still based on parallel minor chords changes, but this time following an ascendant movement : A Flat minor, B Flat minor and B minor. So the melody follows this progression with an ascending melodic line (fig. 12 [WAV 3]). This ascent will lead our melody to a kind of climax (fig.13), staying on a long E, the 4th of B tonality. This note is actually the highest note of this composition. After this long E, we stay around it and repeat it : we insist, this is the climax ! The particularity here is that to repeat it, we use a rhythmical phrase with 16th notes (fig.13 [WAV 4]), which has not at all the swing feel ; this insists on the fact that we are reaching the climax : the highest note and a feel opposed to the one we are in at this time.
To finish this melodic line we have a short rhythmical break of 2 beats and go back to the sentence we had in bar 5 of Part B (this is the repetition process) ; then comes a silence of one bar to let us rest a bit; the 2 last bars of B want to lead us back to Part A and its C minor tonality : The composer chose to do it through harmony, and wrote a melodic line that follows this harmony, helped by a rhythmic break.
After having had the climax, which is a kind of tension, we wanted to go back to tranquility: that's why we went back to A Flat minor and stayed on it during 3 bars, and then really reached the tranquility (or resolution) when we came back to Part A.
Part A is repeated but the the last 2 bars are different [wav11]: instead of leading to the beginning, the melody concludes with an ascending line, accelerating with 16th notes and syncopes, and leading to a sustained loud and high tonic (actually doubled by the 5th ) ; this note played on the beginning of the first improvisation gives a feeling of strong tonality, and for that reason of security and stability.(fig. 14[MID 11])
At the end of the piece, we have the coda [wav12]. The last 2 bars are actually replaced by 2 others, based on the same harmony ; the first bar plays a silence, and the other one a melody, played alone (with no rhythm section) that leads to a sustained single note, G sharp. It is played with a decrescendo, and then comes the last note, G, one semi-tone below. These 2 notes are again 9th but we moved to other tonalities : F Sharp Major 7 and F Major 7. The first one is the dominant of the second one; here we can notice the wish of the composer to take us always to another place, to surprise us: he ends the tune on a chord that is very far from the main tonality, so he takes us to another world ; but he also wants us to feel at home, and uses 9th for the last notes.
The F Sharp 7 chord is played as a long note with decrescendo, and a short silence makes us feel that the piece is finished, but the composer surprises us again with the last chord which is very short and pianissimo.

2. HARMONY

NIKAIA is based on C minor tonality. In fact, it could be considered as a modal piece in which the harmony described by the bass stays most of the time on Cm (or C dorian). But at 2 moments (the bridge and the coda) it moves to other tonalities.
Let's look at the harmonic construction:
The introduction and Part A:
We can say that harmonically Part A is quite simple. The base is Cm; here this chord is played sometime with the 7th and sometimes with the major 7th . Above this chord is played a succession of chords by the piano: Dm and E Flat. It gives a kind of parallel movement and avoids the monotony that modal music could settle. In the same time, on our Cm are played the 9th, the 11th (which is actually a 4th ), and the 13th ; these tensions bring colours and embellish. That shows that to have only one chord is not monotonous .
Part B :
This second part, called bridge, takes us to another tonality, so to another world: A Flat minor (fig.17). But this change is done with a certain logic: The notes in the scale of natural Cm (fig.15) are actually the same than those of the scale of A Flat Major (fig.16). So we are almost on the same scale than C minor, with one difference: we have in our scale C flat , minor 3rd of A Flat scale, instead of C, major 3rd .
But to the listener, it seems like a big change. A Flat minor is kept during 2 bars, and then comes Gm. So we are moving down: it is a parallel move of one semi-tone. But the 2 chords still have the same quality, minor 7, to keep a certain logic.
We go then back to A Flat minor 7 and again to Gm 7. By repeating these series the composer creates a habit and unifies the composition. Now the listener is used to this cycle, so the composer brings a change: from A Flat minor he moves parallel one tone above (B Flat minor 7) and one semi tone (Bm 7) to reach actually the 3rd of A Flat minor, B. We always have these "apparent change" that is actually a "hidden similitude". This is a way to procure a variation but to keep a logic.
With this Bm chord we are at the climax of the piece; this chord is kept 2 bars and 3 beats to insist on this climax and then one beat has no chord (this is a way of resting).
Then we come to A Flat minor again and actually we will have to go back to Part A; for that the composer uses the II-V process (called in classical music sub dominant-dominant): the first II-V he wrote is [A Flat minor 7 - D Flat 7] and the second is [Dm 7 /flat 5 - G 7/flat 9] (notice that Dm is just one semi-tone above D Flat : the harmonic relation here is the proximity or the parallelism and not the tonality). The flat 5 and flat 9 of the second II-V are the characteristics of the minor tonality of Cm.
Then we can notice the transition from Part A to the coda [wav12]: from Cm we go to F Sharp Maj 7. This chord is on one hand far from our main tonality -C minor- because there is no F sharp in C, but on the other hand it is close to it because F sharp can substitute C as a dominant chord (C 7 is the dominant of F and F Sharp 7 too- it is called the tritonic substitution because they both have the same triton). And this chord is the dominant of the last one, F Maj ; here we can notice the wish of the composer to take us always to another place, to surprise us : he ends the tune on a chord that is very far from the main tonality, so he takes us to another world ; but he also wants us to feel at home, and writes 9th as last notes.

3. STRUCTURE

That piece has a quite usual structure: The AABA, with an introduction and a coda.
The AABA is a frequent form, more than AAB or AABB. It is a way to play the motif A, repeat it to insist, to make you really feel it; then comes the B to bring another mood, and then comes the A again to remind you of the main motif.
The introduction puts the listener into the repetitive mood of the piece, with only few instruments.
The coda is a way to conclude differently from the main idea of the piece: it introduces a change in the harmony, but also in the intensity and expression. The effect has also to see with the fact that the last 2 chords are played with no tempo.

Stucture of the piece:
Introduction (8 bars played 3 times):
First time the bass is alone
Second and third time the piano and the drums enter
Lead (32 bars):
First A:
Second A:
B
Third A
Solos (cycle of 32 bars generally played AD LIB, but here 2 times):
Introduction (8 bars) played as an interlude to create a break before coming back to the lead
Lead (32 bars): again AABA
Coda (no tempo):
This coda is actually 2 sustained notes played as a rhythmic unison by the band, and conducted (with no tempo) by the leadeR

4. ARRANGEMENT

We are going to talk about a jazz arrangement. This is different from a symphonic piece or a song…because jazz includes a large part of improvisation, as you know. An arrangement can be written or oral ; in jazz you may have a mix of both. Generally the melody is played once or twice, and can be embellished by harmonisation (when you can use several instruments), breaks, rhythm ponctuations, little additionnal parts (introduction, interludes, anacrouse, coda), etc… The version of NIKAIA we have here is for a quintet and the arrangement is quite simple.
The composer is here also the arranger ; he chose to use a latin feel on Part A and a Jazz feel on B ; this is a question of taste ; he could have used Jazz feel during the all piece or the latin one. This is a way to vary the atmosphere.
The piece starts with the bass playing a riff (8 bars) that is actually the base of the piece, and also the bass line. This line is very important, it's the squeletton of the piece, so if it's payed alone, at

5. ORCHESTRATION

In this kind of music, the limit between arrangement and orchestration is not very clear. More or less I put them together in chapter 4. Here are briefly some more details.
This piece is played by a B flat trumpet, a tenor saxophone, a double bass, a piano, and drums. The double bass, piano and percussions form the so called " rythm section ". The piano has the main harmonic role, and even in the solo part of the pianist, during which he improvises, he keeps playing with the lefthand chords that give the harmonic filling.
The melody could have been only one melodic line. But it has been orchestrated that way : the bass riff is played first alone by the double bass, the melody is distributed between both trumpet and tenor accompanied by the rhythm section.
During the improvisation, we can't really speak of orchestration ; the solo is played only by the piano when the trumpet and tenor are silent. It is a frequent approach in Jazz to silence non soloist instruments during the improvisation of another instrument, and to leave only the rhythm section that accompanies the soloist. This allows us to highlight and give more importance to the virtuosity of the improvising person. In classical music we also encounter this approach in the " Concerto Grosso " form. (We note that another alternative in the same spirit is to give to non soloist instruments some simple repetative pattern or sustained notes (called backgrounds) during the improvisation of another musician.)

6- IMPROVISATION

In the recorded version the only instrument that has a solo part for improvisation is the piano. During this improvisation, the rhythm section (composed by the drums, the bass and the left hand of the pianist) accompanies the soloist playing non-written music, still based on the structure and the harmony of the piece. They use the chords conventions that all Jazz players know ; but also they use their ears : this is not less important. According to the soloist expression and to each other of the players, they all improvise to create a homogeneous music. That's why it is important to know the guys you play with, and more to listen, listen, and listen. It happens that musicians play without listening and only by playing automaticly and technicly, but then, the music sounds cold and boaring…This is the difficulty with Jazz !
Listen attentively to the piano impro [WAV 9]…He plays two choruses, not more, not less. When you improvise, you want to tell something ; it's as if you sing a song. So you have to determine the lenght of your " speech ". Notice the evolution of his solo : it's built with short or long melodic phrases, or with rhythmical and syncoped passages, going up and down, letting the silence talk…and he knows exactly when he is going to finish, to arrive on the first beat of the cycle (on Part A) and to play a C at this moment, where the bass starts the riff, and all the other don't play. The harmonic basis and the number of bars in the improvisation are the same as those in the theme.
Note that during the improvisation part, the differenciation between the two rhythms or " styles " (that of part A and that of part B) disappears ; only the swing-type rhythm of part B is used. On one hand this is a question of taste (one musician suggested to do it) ; but on the other hand it helps the soloist to have a greater freedom in the improvisation, to create long phrases, to build a " story ". These phrases are more involved rhythmically than the original theme, so we indeed do not need anymore the contrast between the two parts.

7- THE CHORDS OF THE PIECE

C concert B Flat E Flat
Cm7 [nikaia fig21-nik mid14] Dm7 [nik Fig22-nik mid14] Am7 [nik fig23-mid14]
F7/9 [f26-m15] G7/9 [f27-m15] D7/9 f28-m15]
A Flat7/9 [f11-m5] B Flat7/9 [f29-m5] F7/9 [f26-m5]
G7 [f16-m10] A 7 [f30-m10] E 7 [f31-m10]
C M7 [f17-m11] D M7 [f32-m11] A M7 [f33-m11]
A FlatM7 [f34-m16] B FlatM7 [f35-m16] F M7 [f36-m16]

Additional chords only for the piano : G7/sharp9 [f37-m17], C7/sharp9 [f9-m3],
B Flat7/sharp9 [f10-m4], A Flat7/9 [f11-m5], D Flat7/9 [f12-m6], E Flat7/9 [f13-m7]

The other piece analysed on JAZZLAB IS Bicycle girl. If you are interested, contact us.

Thank you.

Attila