E.
1. Analysis of Georgia on my Mind (Hoagy Carmichael)
Audio 12
Bars 2 - 3
Eø - A7 - Dm = IIø - V7 - Im progression in D minor.
D minor is of course the relative minor key for F major.
Bars 3 - 4
Dm - Dm7/C - G7/B - Bbm7 form a descending bass notes line
: D --->, C --->, B --->, Bb
Bar 4
Bbm7 - Eb7 = IIm7 - V7 in Ab major
Bbm7 - Eb7 = advanced double tritone substitute chords (see Chords Book 2) for Gm7 - C7 that lead back to the Fmaj7 chord in bar 5.
Bar 5 - 6
Fmaj7 - D7 - Gm7 - C7 = Imaj7 - VI7 - IIm7 - V7
This is the famous Heart and Soul - I Got Rhythm progression. The VI chord is converted from minor to dominant, which is a common variation for this progression.
Bars 7 - 8
Am7 - D7 - Gm7 - C+7 = IIm7 - V7 segments in G major and in F major. The whole sequence follows the Circle of Fifths.
If you regard the Am7 chord function as a plurality of Fmaj7 then this sequence is the same as in bars 5 and 6 :
IIIm7 (= Imaj7) - VI7 - IIm7 - V+7
Treating the Am7 chord as an Fmaj7 plurality also reveals the Circle of Fifths connection from C7 in bar 6 to Am7 ('Fmaj7') in bar 7.
The last Gm7 - C+7 = a turnaround back to Fmaj7 at the beginning of the song.
The C+7 in bar 8 chord accommodates the G# in the melody.
2. Tritone substitutions in Georgia on my Mind.
Up to your own taste of course, but I would use the following (Audio 13) :
- replace A7 in bar 2 by Eb7 : works very well
- replace D7 in bar 7 by Ab7, and replace C+7 in bar 8 by Gb7
this creates a nice chromatic run : Am7 - Ab7 - Gm7 - Gb7 ( - Fmaj7)
Leave the C7 chord in bar 6 as it is, the C7 - Am7 connection works well and the chromatic movement should not extend too long otherwise it becomes boring.When improvising you can substitute chords more freely (but not too often). For example the chords in bar 4 can be replaced by Db7 - C7 (does not work too well over the melody).
F.
Write out the progression IIm7 - IIb7 - Imaj7 for all keys.
