Table 6

"Yes and No"

1 10 11 29 1
Dmaj7 Gmaj7 Bbmaj7 Am7 Dmaj7
I IV bVI V I

Table 7
"Fee-Fi-Fo-Fum"
A
12 3 4 5 6 7 8
Eb7 D7 Gm7 Abmaj7 Bmaj7 D7 Dm7 G7 Eb7 D7 Gm7 Abmaj7 C7 F7 Bb7
B
9 10 11 12 13 14 15 16
Bb7 Eb7 Eb7 Bbm7 Eb7 Am7 D7
A
18 17 19 20 21 2224 23
Eb7 D7 Gm7 Abmaj7 Bmaj7 D7 Dm7 G7 Eb7 D7 Dbmaj7 C7 Cbmaj7

end of the second A section of the AABA form, it initiates a circle-of

fifths progression that spans the bridge. At the end of the first and the
final A sections, it leads back to the tonic chord. Thus, on the final chorus
it functions in the manner of a half-cadence, as it no longer completes its
motion to I.
One nontonic may be so: that of "Fee-Fi-Fo
ending only apparently
Fum" (Table 7), which invites interpretation both in Bb major and G
minor. The form is unusual for a tune, of three
jazz consisting eight
measure sections, ABA. The first A section spends mm. 1-6 in G minor
and then moves to a cadence on Bb. The B section emulates a
quickly
blues until mm. 15-16, when a series of bebop-style chromatic II-V pair
ings returns the music to G minor and the final A section. This section
deviates from the first A section at m. 22, when the progression moves
chromatically downward to cadence on Cbmaj7. In the mid-1960s, jazz
performers and composers began to use the major-seventh chord on bll
as a substitute for the tonic, especially in final cadences.23 Mark Levine
calls this "moving a I chord up a half step" (1995, 292). Given that "Fee
Fi-Fo-Fum" ends on bll of Bb, and thatmm. 8-14 behave like the begin
ning of a blues in Bb, these together tip the scale in favor of that interpre
tation. Thus, the bll, I, is perhaps not a nontonic at
representing ending,
least in the background, where the unresolved appoggiaturas making up
the bll would be removed. Interpretation inG minor would give the final
chord as ^Illtt, definitely a nontonic ending. In fact, on each repetition of

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