Danse Norvegienne Harmonic Study

spatzo

I agree with you on the fact you need to understand clearly what you are doing and why before making any change in the ufficial changes of a tune. Above all you must not give wrong names to chords (as Gm6 A7 Dm...) because it makes obvious that you do not understand the harmonic mouvement.
On another hand I do think that the reconstruction of the exact Hcq sound has never been successfully done : maybe Nousche is one of the closest and also the 1946 sound of the Fapy Lafertin rhythm section is almost perfect.

BluesBop Harry

spatzo wrote:

On my opinion there is just no difference between the analysis given at the beginning and yours, there is nothing "wrong" by the way in what is first given by Lemanouchebien.

Forgive me for butting in, I don't mean to be a jerk or start any wars, I'm just a theory nerd...
The harmonic analysis of the original poster is indeed wrong... The sound of the chords might work, with different levels of dissonance, but the chord degrees are incorrect.
What I'm trying to say is that while it's true that D#0 (not Eb BTW) works against the minor ii-v to Em, it should be thought as a substitution or extension of the B7, not as a diminished chord in it's own right and definitely not as a I... Similar issue with the Bb0... It's clear that diminished chords were not fully understood.

So in the end the sounds are right but the theoretical analysis is wrong... Given that Lemanouchebien intended the second I think Denis response is completely justified.

That said, I'm all for reworking and updating tunes but to be able to do that, you must first understand the original way to play it, otherwise your "re-harmonization" becomes unintentional...

spatzo

Yes it is an extension of B7 that gives momentum to the harmony more than the usual F#m7b5 B7b9 Em7 A7 that is a little bit straight for being repeated twice