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

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

    
 
3 3 3 3

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

A7 alt arp

 

w
 3 3 3

Ed
Bb dim arp A7 arp D mixolydian

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

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

 
rib

               
b7 b7 b9

    

#11 Chromaticism #7
#11 #5 b3 b9
b9


#11


#5 #5
sc

3 Chromaticism 3
Anticipated and extended
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

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

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

   
11 R 7 9

 
7 #11
6

  
#9 7 #5

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

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

             

d

3 3 3
e
rib

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

  
3 3 3 3 3
an

      
A‹6 C‹6 G/B B¨º
           
Tr

        
   
 
3 3

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

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