Hungaria - Sebastien Giniaux

(From Sebastien Giniaux Trio CD)

Transcription: Harry Edwards

www.harryedwardsmusic.com

                   
G A¨

   
3

        

      

ds
   
G E7

           

        
3

ar
w
      
A7 D7

     

Ed
          
   
3 3

 
ry
ar
         
G/B B¨º A‹7
         
D7

           

H

3
by

             
G A¨

           
e d

3
rib

  
              
G E7

   
sc

 
3 3

  
 
an

   
        
C‹6
  G/B
       Bº  
Tr

     
A‹6
  
  
3 3 3 3

        D7
A‹7 G
     A¨º    A‹7  
      
D7
     

3 3
2

    A¨
           
A¨

G Enclosure of Ab (R)

 
G maj triad 3

         
G Enclosure Chromaticism E7

  
b3

 
Tritone pedal


of E (R)

     
    

ds
Enclosure of B (3rd) 3
Pred. G lydian F dim arp

        

ar

Chromaticism


A7
   
D7
  
#11

           

3 b3 b9

 

w

A7 alt arp 3 3

Ed
3
Bb dim arp A7 arp D mixolydian

Chromaticism
     A‹7 Chromaticism

(or A7b9)
  
 
G/B 5

             
B¨º D7
ry
5 6

 
ar
3 Enclosure of B (6th)
Enclosure of D (11th) Modal ambiguity: A Jazz minor/Dorian
H

Extended embellishment of D (5th then 11th)

            

Chromatic sequencing of same shape

          
G A¨ C-7 arp
by

3 7

    

b3 7 b3

 3 3 3
d

B-7 arp
e

             Chromaticism
G Chromaticism Chromaticism E7

 
rib

               Chromaticism

b7


#11 b7 b9

  
#11 #7 #5
b9 b3 b9

 
#5 #5 #11
sc

3 Chromaticism Anticipated and extended

3
enclosure of E (R)
E-7 arp
an

E- sub continued with passing tones: modal ambiguity E7 Arp with passing tones: modal ambiguity

 
A‹6 B¨º

 
G/B

     
(Or A7b9) Chromaticism

    
C‹6 b3

        
Tr

      
6 b5

Enclosure of C maj 7 arp

A aeolian G ionian run
B (9th)

A‹7
  Enclosure of

 D7         G      A¨º 
9 R R Chromaticism

   
B (6th)
 
6 6 (or E7b9) A‹7 D7
   
11 R 7 9

 
7 #11

  
#5 6
#9 7

 
D maj 6 arp 3 Modal ambiguity: G Ionian/Lydian 3 3
E blues scale
 3

    A¨
  
 
G


         
  
3

               
G E7
     3
  
     
3 3

ds
     3

ar
  
A7 D7

   

w
    
                 


Ed


  
G/B
     Bº

      
A‹7

      ry
        
D7
ar

H

           
by


G A¨

             

e d

3 3 3
rib

                 E7 
G
       
  3 
sc

  
an

3 3 3 3 3 3

                  
Tr

A‹6 C‹6 G/B B¨º

        
   
 
3 3

 
  
A‹7 A¨º   A‹7 D7
            
D7 G

   
3

6 Bar break here (not transcribed), then key change to Eb