L'anatole en jazz


Sélectionnez une tonalité :

L'anatole est la séquence I-VI-II-V aussi appelé turnaround en américain.

Avec les accords diatoniques = Fondamentale-3-7

['P1','M7','I','Ts'],['M6','m7','VI','t'],['M2','m7','II','SD'],['P5','7','V7','D']
Q:1=40 %%player_no_voice %%pianoCD K:C [V:C] "CM7"x | "Am7"x | "Dm7"x | "G7"x :|] [V:D] "I"x | "VI"x | "II"x | "V7"x :|] [V:KG] [B,E] | [CG] | [CF] | [B,F] :|] [V:KF] C, | A,, | D, | G, :|]

On ajoute la quinte sur le I, VI et II et la neuvième sur le V7.

Q:1=40 %%player_no_voice %%pianoCD K:C [V:C] "CM7"x | "Am7"x | "Dm7"x | "G9"x :|] [V:D] "I"x | "VI"x | "II"x | "V7"x :|] [V:KG] [B,EG] | [CEG] | [CFA] | [B,F!blue!A] :|] [V:KF] C, | A,, | D, | G, :|]

Pour rendre plus jazzy, on ajoute la neuvième sur le I, VI et II et la treizième sur le V7.

['P1','M9','I','Ts'],['M6','m9','VI','t'],['M2','m9','II','SD'],['P5','13','V7','D']
Q:1=40 %%player_no_voice %%pianoCD K:C [V:C] "CM9"x | "Am9"x | "Dm9"x | "G13"x :|] [V:D] "I"x | "VI"x | "II"x | "V7"x :|] [V:KG] [B,!blue!DEG] | [!blue!B,CEG] | [C!blue!EFA] | [B,!blue!EF!blue!A] :|] [V:KF] C, | A,, | D, | G, :|]

Transformons l'anatole

On transforme le VIm7 en VI7 pour qu'il devienne le V7/II, c'est une tonification.
On y ajoute alors les extensions b9 et b13.

['P1','M7','I','Ts'],['M6','7','V7/II','D2'],['M2','m7','II','SD'],['P5','9','V7','D']
Q:1=40 %%player_no_voice %%player_bottom %%pianoCD K:C [V:C] "CM7"x | "A7"x | "Dm7"x | "G9"x :|] [V:D] "I"x | "V7/II"x | "II"x | "V7"x :|] [V:KG] [B,EG] | [^CEG] | [CFA] | [B,F!blue!A] :|] [V:KF] C, | A,, | D, | G, :|]
['P1','M9','I','Ts'],['M6','7b9b13','V7/II','D2'],['M2','m9','II','SD'],['P5','13','V7','D']
Q:1=40 %%player_no_voice %%player_bottom %%pianoCD K:C [V:C] "CM9"x | "A7b9b13"x | "Dm9"x | "G13"x :|] [V:D] "I"x | "V7/II"x | "II"x | "V7"x :|] [V:KG] [B,!blue!DEG] | [!blue!_B,^C!blue!FG] | [C!blue!EFA] | [B,!blue!EF!blue!A] :|] [V:KF] C, | A,, | D, | G, :|]

On utilise la substitution tritonique du V7/II soit le bII7/II.

['P1','M7','I','Ts'],['m3','7','bII7/II','D2st'],['M2','m7','II','SD'],['P5','9','V7','D']
Q:1=40 %%player_no_voice %%player_bottom %%pianoCD K:C [V:C] "CM7"x | "Eb7"x | "Dm7"x | "G9"x :|] [V:D] "I"x | "bII7/II"x | "II"x | "V7"x :|] [V:KG] [B,EG] | [_B,_DG] | [CFA] | [B,F!blue!A] :|] [V:KF] C, | _E, | D, | G, :|]
['P1','M9','I','Ts'],['m3','9','bII7/II','D2st'],['M2','m9','II','SD'],['P5','13','V7','D']
Q:1=40 %%player_no_voice %%player_bottom %%pianoCD K:C [V:C] "CM9"x | "Eb9"x | "Dm9"x | "G13"x :|] [V:D] "I"x | "bII7/II"x | "II"x | "V7"x :|] [V:KG] [B,!blue!DEG] | [_B,_D!blue!FG] | [C!blue!EFA] | [B,!blue!EF!blue!A] :|] [V:KF] C, | _E, | D, | G, :|]

On utilise la substitution tritonique du V7 soit le bII7.
On a alors une basse descendante chromatique.

['P1','M7','I','Ts'],['m3','7','bII7/II','D2st'],['M2','m7','II','SD'],['m2','7','bII7','Dst']
Q:1=40 %%player_no_voice %%player_bottom %%pianoCD K:C [V:C] "CM7"x | "Eb7"x | "Dm7"x | "Db7"x :|] [V:D] "I"x | "bII7/II"x | "II"x | "bII7"x :|] [V:KG] [B,EG] | [_B,_DG] | [CFA] | [_CF_A] :|] [V:KF] C, | _E, | D, | _D, :|]
['P1','M9','I','Ts'],['m3','9','bII7/II','D2st'],['M2','m9','II','SD'],['m2','7#9b13','bII7','Dst']
Q:1=40 %%player_no_voice %%player_bottom %%pianoCD K:C [V:C] "CM9"x | "Eb9"x | "Dm9"x | "Db#9b13"x :|] [V:D] "I"x | "bII7/II"x | "II"x | "bII7"x :|] [V:KG] [B,!blue!DEG] | [_B,_D!blue!FG] | [C!blue!EFA] | [_C!blue!EF!blue!__B] :|] [V:KF] C, | _E, | D, | _D, :|]

On substitue le I par le III diatonique.

['M3','m7','III','ts'],['m3','7','bII7/II','D2st'],['M2','m7','II','SD'],['m2','7','bII7','Dst']
Q:1=40 %%player_no_voice %%player_bottom %%pianoCD K:C [V:C] "Em7"x | "Eb7"x | "Dm7"x | "Db7"x :|] [V:D] "III"x | "bII7/II"x | "II"x | "bII7"x :|] [V:KG] [B,DG] | [_B,_DG] | [CFA] | [_CF_A] :|] [V:KF] E, | _E, | D, | _D, :|]
['M3','m9','III','ts'],['m3','9','bII7/II','D2st'],['M2','m9','II','SD'],['m2','7#9b13','bII7','Dst']
Q:1=40 %%player_no_voice %%player_bottom %%pianoCD K:C [V:C] "Em9"x | "Eb9"x | "Dm9"x | "Db#9b13"x :|] [V:D] "III"x | "bII7/II"x | "II"x | "bII7"x :|] [V:KG] [B,D!blue!^FG] | [_B,_D!blue!FG] | [C!blue!EFA] | [_C!blue!EF!blue!__B] :|] [V:KF] E, | _E, | D, | _D, :|]

On enchaine l'anatole avec sa transformation.

['P1','M7','I','Ts'],['M6','m7','VI','t'],['M2','m7','II','SD'],['P5','7','V7','D','up'], ['M3','m7','III','ts'],['m3','7','bII7/II','D2st'],['M2','m7','II','SD'],['m2','7','bII7','Dst']
Q:1=40 %%player_no_voice %%pianoCD K:C [V:C] "CM7"x | "Am7"x | "Dm7"x | "G9"x || "Em7"x | "Eb7"x | "Dm7"x | "Db7"x :|] [V:D] "I"x | "VI"x | "II"x | "V7"x || "III"x | "bII7/II"x | "II"x | "bII7"x :|] [V:KG] [B,EG] | [CEG] | [CFA] | [B,F!blue!A] || [B,DG] | [_B,_DG] | [CFA] | [_CF_A] :|] [V:KF] C, | A,, | D, | G, || E, | _E, | D, | _D, :|]

Avec les enrichissements jazz :

['P1','M9','I','Ts'],['M6','m9','VI','t'],['M2','m9','II','SD'],['P5','13','V7','D','up'], ['M3','m9','III','ts'],['m3','9','bII7/II','D2st'],['M2','m9','II','SD'],['m2','7#9b13','bII7','Dst']
Q:1=40 %%player_no_voice %%pianoCD K:C [V:C] "CM9"x | "Am9"x | "Dm9"x | "G13"x || "Em9"x | "Eb9"x | "Dm9"x | "Db#9b13"x :|] [V:D] "I"x | "VI"x | "II"x | "V7"x || "III"x | "bII7/II"x | "II"x | "bII7"x :|] [V:KG] [B,!blue!DEG] | [!blue!B,CEG] | [C!blue!EFA] | [B,!blue!EF!blue!A] || [B,D!blue!^FG] | [_B,_D!blue!FG] | [C!blue!EFA] | [_C!blue!EF!blue!__B] :|] [V:KF] C, | A,, | D, | G, || E, | _E, | D, | _D, :|]