Analysis of “Autumn Leaves” - Introduction
- In this lesson, we look at the chords for the classic jazz standard Autumn Leaves, a popular starter for beginners!
- Step 3 – Add chords. Once you really feel like adding the ultimate touch to this awesome acoustic guitar melody, you can definitely start working on chords and harmony. Let me show you a simple way to add a few chords to Autumn Leaves. I still want to keep things pretty simple, so I am not going crazy with chords.
Autumn Leaves is a great jazz standard that is an excellent example of a song that moves back and forth between a major key and it’s relative minor key. Originally written in the key of G Major (and it’s relative, E Minor), it is usually played in Bb Major (or G Minor). It offers an opportunity to practice improvising over the II - V - I progression in both Bb Major and in G Minor!
Analysis of “Autumn Leaves” - Structure of the Form
The song is sort of an A A B A form except that the last 8 measures do not repeat the first 8. So it would probably be better to call it A A B C! The chord progression and melody of the C section are both different from the first A!
5 Possible Chord Forms for Autumn Leaves in A minor. 5.1 Consider using the Pinky as a guide finger. 5.2 F Major 7 and F Major 7/6. 5.3 E7 and E7b9. 5.4 Dmin7 and Dmin9. 5.5 Chords Diagrams for Autumn Leaves – A Section. 5.6 Chords Diagrams for Autumn – B Section. 6 Autumn Leave Chord Tones Lesson on Improvisation.
Analysis of “Autumn Leaves” - The A sections
The first eight measures of the tune comprise the following progression:
/Cmi7 /F7 /Bbma7 /Ebma7 /AØ /D7b9 /Gmi7 /Gmi7 /
The first four measures can be analyzed as IImi7 - V7 - Ima7 - IVma7 in Bb Major. The easiest way to improvise over this progression is to use a Bb Major scale since all of the chords are in the key of Bb Major! Of course, you must give emphasis to the chord tones to identify each chord but you can more or less just move around in the key and you will be getting the general sound. Even better, try to use some digital patterns to get good melodic motion over the progression! You can find some ideas about digital patterns in my blog about the II - V - I progression.
The second four measures can be analyzed as IIØ - V7b9 - Imi7 in G Minor. Similar to the first four measures, the easiest way to improvise over this progression is to use a G Harmonic Minor scale. It includes all of the chord tones of the three chords with one exception: The Gmi7 has an F natural in it and the G Harmonic Minor scale has an F# in it. So the F# in the scale should not be emphasized but can still be used as a melodic approach tone to the note G (root of the Gmi7 chord). Again, emphasize chord tones and try to use digital patterns moving through the G Harmonic Minor scale. Most melodic patterns will sound equally good over either a II - V - I in major or minor. Use the Major scale of the Ima7 chord over the II - V - I in a major key and use the Harmonic Minor scale of the Imi7 chord over the II - V - I in a minor key!
Analysis of “Autumn Leaves” - The B section
The chord progression of the bridge (B section) is just the opposite of the A sections as follows:
/AØ /D7b9 /Gmi7 /Gmi7 /Cmi7 /F7 /Bbma7 /Ebma7 /
The first four measures are a II - V - I in G Minor and the second four measures are a II - V - I in Bb Major. So the same approach as was used in the A sections applies here but is reversed.
Analysis of “Autumn Leaves” - The C section
The C section is mainly in G Minor but has more harmonic activity and some key changes:
/AØ /D7b9 /Gmi7 C7 /Fmi7 Bb7 /Eb7 /AØ D7b9 /Gmi7 /Gmi7 /
The first two and a half measures constitute a II - V - I in G Minor so the same approach used in the first 24 bars of the tune applies here. But the 3rd and 4th bars change keys quickly! The 3rd bar (Gmi7 C7) is a II - V progression in F Major and the 4th bar (Fmi7 Bb7) is a II - V progression in Eb Major. So, as in the II - V - I progression in a major key, you can simply use those two major scales, F Major and Eb Major. However, the Eb7 requires a dominant 7th scale (Mixolydian) that includes a Db. Because there is an A natural in the key of G Minor, the best sound would be a Lydian, b7 scale (Eb F G A Bb C Db Eb). The last three measures may again use the G Harmonic Minor Scale.
Analysis of “Autumn Leaves” - A more complex treatment
Up to this point, I have been recommending “bracketing” chords with a single scale to simplify the process because there are less different scale colors to navigate. But, as you become confident improvising on the tune, you will probably want more variety in the sound! So then you may want to change the scale choice with each chord. Many of these choices are already made for you by the function of the chord, the key, and the context (preceding and following chords). Some of these choices are a matter of fact as is indicated below:
Cmi7 - II function should be a Dorian scale (Bb Major)
F7 - the largest variety of choices, any dominant 7th scale (except Minor Blues)
Bbma7 - tonic function calls for Bb Major scale, Bb Lydian (F Major) could be used
Ebma7 - IV function requires Lydian scale (Bb Major)
AØ - basic half-diminished scale is Locrian (Bb Major)
D7b9 - Should include alterations which predict the key signature of the Imi7 to follow. The two best choices are the 5th mode of Harmonic Minor (G Harmonic Minor) and D Super Locrian (Eb Melodic Minor)
Gmi7 - tonic function calls for G Aeolian (Bb Major). Can also use Dorian (F Major)
Gmi7 - C7 and Fmi7 - Bb7 - It’s best not to alter the C7 or Bb7. The quick key changes provide enough harmonic interest! So use the major scales of the keys, F Major and Eb Major. These two measures also present an opportunity for melodic sequences so try to play the same identical melodic idea in both keys!
When embarking on this more complex treatment, be sure to start at a slower tempo and try to emphasize the 3rds and 7ths of chords. These are the most important chord tones in any chord and bring out the quality of the chords (ma7, mi7, dom7,half-diminished, etc.). Listen to recordings by great artists, copy ideas that you like and incorporate them into your solo!
3 Autumn Leaves Chord Progression Studies
Learning the Autumn Leaves chord progression is an important part of learning jazz guitar. Besides being one of the most commonly played standards at jam sessions, the Autumn Leaves chord progression is a great study for major and minor ii V I chords.
90% of the Autumn Leaves chord progression alternates between major and minor ii-V-I progressions.
The examples in this article only cover these two ii V I progressions. But you could play through each example twice and then play the minor ii V I followed by the major ii V I to get the B section which would give you three quarters of the Autumn Leaves chord progression.
For a full and detailed analysis of Autumn Leaves, check out this in depth article that I published.
To play through each of these Autumn Leaves chord progression studies you will need to know the following techniques:
Having the Autumn Leaves chord progression memorized is also important.
Try playing through chords using whole notes rhythms at first and eventually quarter notes while humming or whistling the melody to memorize the chords.
Many jazz standards modulate from the major to the relative minor and vice versa.
Autumn Leaves Chords Key Of C
Because of this it is worth taking each of these studies into all 12 keys.
For further chordal study I recommend creating a melody arrangement using the chords from the Autumn Leaves chord progression.
Autumn Leaves Chord Progression
Autumn Leaves Chord Progression Study 1
As mentioned earlier, the first rhythm to explore when practicing the autumn leaves chord progression or any set of new chords is the whole note rhythm.
Practicing using whole note rhythms ensures that there is enough time to switch between each chord which is particularly useful if you are working on new jazz guitar chords.
Take note of the voice leading in each chord too. Rather than jumping across the fretboard, each of the chord moves to the nearest available chord which only requires moving a few frets.
This example uses drop 2 chord inversions for the minor 7th and major chords and dominant7b9 chords for the dominant 7ths.
Once you can fluently play this study, use the same chords on the same string set, but start with a different C-7 voicing.
Doing this will ensure that you cover all the possible inversions using drop 2 chords and dom7b9 chords on the top four strings.
You can also start with a C-7 higher up the neck and descend through inversions rather than ascend, like in this example.
Autumn Leaves Chord Progression Study 2
Learning to play walking bass lines is an important part of developing good comping skills. This next autumn leaves chord progression study demonstrates the comping with bass lines technique.
Drop 3 chord inversions are used in the last two bars to create movement and interest. Try to create your own bass lines starting in different areas of the neck that go in different directions.
Autumn Leaves Chords Caamp
Autumn Leaves Chord Progression Study 3
Here is an etude that features modern jazz guitar voicings to finish off this autumn leaves chord progression study.
The chords in this example are more advanced than the previous studies so they might require more practice to play proficiently if you are new to jazz guitar.
Most of the chords is in this example feature clusters which are two intervals that are close together usually resulting in a dissonant effect.
If modern jazz guitar comping is your thing and you want to expand on this example, try experiment with inverted quartal chords and sus9 chords.
Autumn Leaves Chords Pdf
I hope that you have enjoyed playing and working through each of these Autumn Leaves chord progression studies.
Check out this link to a FREE Autumn Leaves backing track without piano to practice these chords over.
Autumn Leaves Chords
What do you think of each of these studies? Share your thoughts in the comment section below.