Goal
Analyzing a standard means understanding where the tonal centers are, what function each chord has, and how they connect. It is the foundation for improvising, accompanying, arranging, and reharmonizing. The method below follows Berklee practice and that of Mark Levine (The Jazz Theory Book).
The symbols
- Roman numerals with quality: Imaj7, IIm7, IIIm7, IVmaj7, V7, VIm7, VIIø7 (many jazz schools use all uppercase with the quality suffix).
- V7/x: secondary dominant (A7 = V7/II in C).
- subV7/x: tritone substitute (Db7 = subV7 of I).
- Square bracket under ii–V: functional pair.
- Solid arrow from a V7 to its target: resolution by fifth.
- Dashed arrow: resolution of a subV by half step.
- SDm (minor subdominant): iv, bVI, bVII7, iiø7, bII borrowed from the parallel minor.
- Writing the tonal center above the staff when it changes ("Ab:", "C:", "Eb:").
The method in 6 steps
- Key and ending: key signature, first and last chord.
- Find all the dominant sevenths and see where they go: by fifth (V7), by half step (subV7), nowhere (unresolved dominant, blues).
- Group the ii–Vs with brackets.
- Label the other chords relative to the local center: diatonic, modal borrowings (SDm), passing diminished.
- Mark the tonal zones (tonicizations and modulations) and the pivots.
- Choose the scales and write the guide tones (3 and 7) to see the inner lines.
Example 1: Autumn Leaves (in G minor, first 8 bars)
| Chord | Cm7 | F7 | Bbmaj7 | Ebmaj7 | Aø7 | D7 | Gm6 | Gm6 |
|---|---|---|---|---|---|---|---|---|
| In Bb | IIm7 | V7 | Imaj7 | IVmaj7 | ||||
| In G minor | IVm7 | bVII7 | bIIImaj7 | bVImaj7 | IIø7 | V7 | Im6 |
Reading: a ii–V–I in the relative major, then Ebmaj7 acts as a pivot (IV of Bb = VI of G minor) toward a iiø–V–i in G minor. The whole song alternates these two centers.
Example 2: All the Things You Are (Ab, first 8 bars)
| Bar | 1 | 2 | 3 | 4 | 5 | 6 | 7–8 |
|---|---|---|---|---|---|---|---|
| Chord | Fm7 | Bbm7 | Eb7 | Abmaj7 | Dbmaj7 | G7 (or Dm7 G7) | Cmaj7 |
| Analysis | VIm7 | IIm7 | V7 | Imaj7 | IVmaj7 | V7 of C | Imaj7 in C |
The Dbmaj7 is IV in Ab and, relative to C, a bIImaj7 (Neapolitan area): it acts as a bridge to the new key a major third away (Ab → C). The guide tones move almost entirely by half step or stay common.
Common mistakes
- Analyzing every chord relative to the home key instead of the local center.
- Confusing a blues IV7 (it does not resolve by fifth) with a V7/bVII.
- Not recognizing an isolated ii–V (that does not resolve): it still needs to be bracketed.
- Ignoring the melody: it is often the melody that clarifies whether a chord is major, dominant, or altered.
Exercise
Choose three standards (for example Autumn Leaves, Satin Doll, All the Things You Are), print the lead sheet, analyze them with the method, and compare with a published analysis. Then play only the guide tones in two voices for the whole chorus.
Related topics
The ii–V–I in jazz, related ii–V, extended tritone substitution, chord-scale theory, jazz standards and harmonic forms.