3.4 Harmonic Analysis
Understanding harmonic structure to improve improvisation
Key Concepts
Roman numerals
A system for identifying chords in relation to the tonic (I, II, III...). Essential for analysing chord progressions.
Harmonic Functions
Tonic (stability), Subdominant (preparation), Dominant (tension). The basic harmonic progression.
Recurring Patterns
II–V–I, turnarounds, fifth-note cycles. Recognising them speeds up memorisation and improvisation.
Modulations
Changes in key within the piece. Identifying these is crucial for choosing the correct scales.
Secondary Dominants
Temporary V7s (V7/II, V7/III...). They create tension towards non-tonic chords.
Scale-Chord Selection
Match appropriate scales to each chord based on analysis. The foundation of jazz improvisation.
Why Analyse Harmony?
Harmonic analysis is essential for:
- Understanding the structure of a piece of music and the relationships between chords
- Choosing the right scales for improvisation
- Memorising complex sequences by recognising patterns
- Recognising recurring patterns across different tracks
- Creating effective reharmonisations
- Communicating with other musicians using standard terminology
- Transposing pieces into other keys whilst maintaining the harmonic function
Analysis is not an end in itself – it is a tool for improvising better and composing more thoughtfully. Once you have analysed a piece, you need to ‘forget’ the theory and play with emotion.
Method of Analysis
Step 1: Identify the Key
Clues:
- Key signature
- First and final chord (usually the tonic)
- The most common chords
- Rhythms (V7→I)
Step 2: Roman numerals
Assign Roman numerals to each chord in relation to the tonic.
| In C: | Cmaj7 | Dm7 | Em7 | Fmaj7 | G7 | Am7 | Bm7♭5 |
|---|---|---|---|---|---|---|---|
| Number: | Imaj7 | IIm7 | IIIm7 | 7 May | V7 | VIm7 | VIIm7♭5 |
Step 3: Harmonic Functions
Tonic: I, III, VI (stability)
Subdominant: II, IV (preparation)
Dominant: V, VII (tension)
Step 4: Identify Patterns
Common patterns:
- II-V-I (and variations)
- I-VI-II-V (turnaround)
- Cycles of fifths
- Secondary dominants
- Tritone substitution
- Modal interchange
Example of a Comprehensive Analysis
Analysis: ‘Autumn Leaves’ (first section)
| Bar | Agreement | Analysis | Function | Notes |
|---|---|---|---|---|
| 1-2 | Cm7 | Im7 | Tonic | Key: C minor |
| 3-4 | F7 | IV7 | Subdominant | Bb secondary dominant |
| 5-6 | B♭maj7 | ♭VIImaj7 | Relative tonic | Relative major |
| 7-8 | E♭maj7 | ♭IIImaj7 | Internal mode | From the major parallel |
Advanced Analysis: Modulations
Types of Modulation
Direct Modulation
Immediate transition to a new shade without any preparation
Prepared Modulation
Use the II–V of the new key as a bridge
Pivot Agreement
A chord common to both keys
Chromatic Modulation
Chromatic movement in the bass
Choosing Scales for Improvisation
After the analysis, match each chord with one or more scales:
| Agreement Type | Main Scales |
|---|---|
| Imaj7, IVmaj7 | Ionian, Lydian |
| IIm7, IIIm7, VIm7 | Dorian, Aeolian |
| V7 | Mixolydian, Altered, Whole Tone |
| VIIm7♭5 | Locrian |
| ♭IImaj7 | Lydian (sub-tritone) |
Practical Examples of Analysis
A comprehensive harmonic analysis of standard pieces. Learn how to identify keys, functions and patterns.
"All The Things You Are"
Analysis: 4 keys (A♭, C, E♭, G). Continuous sequences of II-V-I that modulate every 8 bars.
Pattern: Fm7-B♭m7-E♭7-A♭maj7 (II-V-I in A♭) → modulates to the relative major key, C.
Listen + Analysis"Giant Steps"
Analysis: Modulations in major thirds (B→G→E♭). Coltrane Changes.
Pattern: Bmaj7(I)-D7(V/V)-Gmaj7(I). The root notes form an augmented triad.
Listen + Analysis"Stella By Starlight"
Analysis: Half-diminished chords (Em7♭5, Cm7♭5) in unconventional positions.
Pattern: Multiple II–V progressions with chromatic modulations. Sophisticated harmony.
Listen + Analysis"So What"
Analysis: Modal jazz – Dm7 (Dorian) for 16 bars, then E♭m7 (Dorian) for 8.
Pattern: No traditional progression. Horizontal/modal approach.
Listen + AnalysisInteractive Audio Examples
Listen to the basic harmonic progressions. Use the controls to adjust the tempo and study the patterns.
Study Tips
1. Analyse by Listening
Don’t just analyse by reading the lead sheet. Listen to the piece and follow the harmony with your ears. Visual analysis + listening = a deep understanding.
2. Use Different Colours
Highlight II-V-I in blue, secondary dominants in red, and modal interchanges in green. The colour-coding helps you to memorise the patterns.
3. Create a Personal Database
Analyse at least 20–30 jazz standards in full. Create a notebook containing all your analyses. You’ll spot recurring patterns and find it easier to memorise them.
4. Transcribe Improvisations
Transcribe solos and note which scales and notes are used on each chord. Compare this with your own analysis: if a master uses the Altered scale instead of the Mixolydian, there’s a reason for it.
5. Play the Chord Progressions
On the piano or guitar, play the progressions you’ve analysed. Listen for the tension and resolution. Theoretical analysis + auditory experience = true understanding.
6. Identify the Shape
AABA, ABAC, 12-bar blues. The structure of the piece helps you to memorise and anticipate the chord progressions. Many standards use standardised structures.
7. Compare Different Versions
Listen to 3–4 versions of the same standard. Note the different reharmonisations. See how different masters interpret the same harmony.
8. Practising by Ear
Try analysing a piece just by listening to it (without a lead sheet). Develop your harmonic ear so that you can recognise II-V-I progressions, modulations and secondary dominants.
Common Mistakes
1. Failing to identify the correct pitch
Problem: Analysing everything in relation to a single key when the piece modulates continuously.
Solution: Divide the piece into sections. Identify the key of each section separately. ‘All The Things You Are’ has four different keys – you cannot analyse the whole piece as being in A♭.
2. Confusing secondary dominants with modulations
Problem: Seeing a V7/II and thinking it’s a permanent modulation.
Solution: Secondary dominants are temporary – they build tension towards a chord but then return to the original key. True modulation = settling into the new key for at least 4–8 bars.
3. Ignoring the Melodic Context
Problem: Analyse only the chords without looking at the melody.
Solution: The melody influences the choice of scales. If the melody emphasises the #11, you’ll probably need to use the Lydian scale even if the chord is Imaj7.
4. Apply ‘Standard’ scales strictly
Problem: "IIm7 = always Dorian, V7 = always Mixolydian".
Solution: Context is everything. V7 can be Mixolydian, Altered, Whole-tone, Diminished, Lydian ♭7… It depends on the resolution, the melody and the sound you want to create.
5. Not Recognising Tritone Substitutions
Problem: Seeing a ♭II7 and not realising that it is a tritone substitution for the V7.
Solution: D♭7 → Cmaj7 is a tritone substitute for G7 → Cmaj7. They share the same third and seventh (in inverted form). Recognising tritone substitutes helps with memorisation and improvisation.
6. Forgetting Harmonic Functions
Problem: Memorising chords such as ‘Dm7-G7-Cmaj7’ without realising that this is II-V-I.
Solution: Think in terms of functions. II (preparation) → V (tension) → I (resolution). This allows you to apply the concept and understand the logic rather than simply memorising it mechanically.
7. Analyse, but do not experiment
Problem: Simply write out the analysis, without trying out the scales on the chord.
Solution: Once you’ve analysed the piece, pick up your instrument and PLAY the scales over each chord. Record a playback and improvise using your analysis. Theory without practice is useless.
8. Do not compare with actual recordings
Problem: Relying blindly on the lead sheet (fake book) without listening to recordings.
Solution: Lead sheets often contain errors or are simplified versions. Always compare them with two or three professional recordings. Transcribe the actual reharmonisations.
Summary of the Harmonic Analysis
Full Analysis Process:
- Identify the key – Key signature, first/last chord, cadences
- Use Roman numerals – I, II, III, IV, V, VI, VII – in relation to the tonic
- Classify the functions – Tonic (stability), Subdominant (preparation), Dominant (tension)
- Recognise patterns – II–V–I, turnarounds, fifth cycles, rhythm changes
- Note the modulations – key changes, pivot chords, secondary dominants
- Match appropriate scales – Choose scales for improvisation based on your analysis
- EXERCISE on harmony – Use analysis to improvise consciously
Harmonic analysis transforms a chord progression from a random sequence of chords into a comprehensible logical structure. When you see Dm7-G7-Cmaj7, these are not three separate chords: it is a II-V-I, a functional unit that creates tension and resolution.
The key is to recognise recurring patterns. 90 per cent of jazz standards use the same harmonic structures: II-V-I, turnarounds, fifth cycles and rhythm changes. Recognising them speeds up memorisation and improvisation.
Modulations are common in jazz. ‘All The Things You Are’ modulates four times. ‘Giant Steps’ modulates every two bars. Identifying the keys of each section is crucial for choosing the correct scales.
Analysis is not an end in itself – it is a tool to help you improvise better. Once you have analysed a piece, you need to ‘forget’ the Roman numerals and play with emotion, using your understanding of harmony as a subconscious guide.
Practise analysis regularly. Analyse at least 1–2 new tracks every week. After 6 months, you will have analysed over 50 tracks and will be able to recognise patterns instantly. The speed of analysis equals the speed at which you learn new tracks.