Harmonic Analysis Worksheet
& Performance Notes Below

Analysis Worksheet Chords Melody Scales Performance Links

Ain't Misbehavin'

Released: 1929

Ain't Misbehavin' is a 1929 stride jazz/early swing song. Andy Razaf wrote the lyrics to a score by Thomas "Fats" Waller and Harry Brooks for the Broadway musical comedy play Connie's Hot Chocolates. (wikiwand);

The song was first performed at the premiere of Connie's Hot Chocolates in Harlem at Connie's Inn as an opening song by Paul Bass and Margaret Simms, and repeated later in the musical by Russell Wooding's Hallelujah Singers. Connie's Hot Chocolates was transferred to the Hudson Theatre on Broadway during June 1929, where it was renamed to Hot Chocolates and where Louis Armstrong became the orchestra director.

Ain't Misbehavin' is in the The Daily Ukulele — 365 Songs for Better Living book.

Strum a different song every day with easy arrangements of 365 of your favorite songs in one big songbook! The Daily Ukulele features ukulele arrangements with melody, lyrics and uke chord grids and are in ukulele-friendly keys that are particularly suited for groups of one to one hundred to play and sing.

The Daily Ukulele — 365 Songs for Better Living • INDEX of Songs

Theses and many other chords are covered in the Learn A Chord A Day series of lessons.

INTERVALS: Root=note that begins a scale of the starting key; C is C, D is D, Am is a, Em is E, etc... m=minor; M=Major; P=Perfect; D=Diminished; A=Augmented. • ↑ is up/ascending; ↓ is down/descending;

Visit the Harmonic Analysis for Scale and Chord Selection series of lessons for information on creating a your own Harmonic Analysis Worksheet

Checkout my, Curt's re-harmonization below . In most cases the RMA/HA is the same.

C

Dm

G7

C

C7

F

Fm

I

II

V

I

I7
( V of IV)

IV

IVm

C:

C Mixolydian

F Dorian

1.

C

Am

Dm

G7

E7

A7

D7

G7

I

VI

II

V

III7
( V of VI)

I7
( V of IV)

II7
( V of V)

V7

E Mix+4

A Mix+4

D Mix+4

G Mix

2.

C

Fm

C

E7

I

IVm

I

III7/V of VI

F Dor

E Mix-2-6

Am

F

Am

F7

VI/I

II

I

IV

Am:

The E7 (V of VI) Secondary Dominant chord is used to setup the Internal Modulation to the relative minor key of C, Am.

D.C. al Fine

G

Am

D7

G7

A7

D7

G7

I

II

V/V of V

I/V

VI7 (V of II)

II7 (v of V)

V

G:

C:

The G Am D7 G7 could fit the definition of an Internal Modulation, as it is three chords and feels like it truly do modulation to. Doesn't stay long and the resolution is not G but a G7 the V of the home and original key. A P4 Cycle of three seventh chords leading right back to C, the home key.

Modern Jazz Version

Curt's Re-harmonized Jazzier version of Ain't Misbehavin` using more modern 4-part Jazz chords suitable for uke groups and jams.

C6/9

C♯°7

Dm7

G13

Cmaj7

C9/Bb

Fmaj9/A

Fm6/A♭

I

I♯°7

II

V

I

I7
( V of IV)

IV

IVm

C:

C Mixolydian

F Dorian

1.

C6

A7♭9

Dm7

B7♭9

E7

A7♭9

D7

G7♯5

I

VI7
( V of II)

II

VII7
( V of III)

III7
( V of VI)

VI7
( V of II)

II7
( V of V)

V7

A Mix-2-6

B Mix+4

E Mix+4

A Mix+4

D Mix+4

G Mix

2.

Dm7

D♭7

C6

Fm6

C6

E7♭9

II

♭II7
(tritone sub)

I

IVm6

I

III7
( V of VI)

Db Mix+4

F Dor

E Mix-2-6

3 Fine or add Ending.

C6

C

I

Am

Am♯5

Am6

A7

I

I

I

I7

Am:

A Mix

The E7 of the 2nd ending, a (V of VI) Secondary Dominant chord is used to setup the Internal Modulation to the relative minor key of C, Am.

D.C. al Fine

G6 (Em7)

E7♭9

Am7

D7

G7

A7

D7

G7♭9

I

VI7
( V of II)

II

II7
( V of V)

I/V

VI7
( V of II)

II7
( V of V)

V

G:

E Mix-2-6

D Mix+4

A Mix+4

D Mix

The G Am D7 G7 could fit the definition of an Internal Modulation, as it is three chords and feels like it truly do modulation to. Doesn't stay long and the resolution is not G but a G7 the V of the home and original key. A P4 Cycle of three seventh chords leading right back to C, the home key.

Ralph Patt Vanilla Book

Checkout the Ralph Patt Vanilla Book Vanilla changes for Ain't Misbehavin' • The Vanilla Book uncovers the basic ("Vanilla") chord changes to over 400 of the most commonly played jazz standards to help the jazz player learn the basic changes and allow the player to add embellishments and substitutions on a solid framework.

Embellishments to basic chords such as added 6ths, 9ths, 13ths, flat 5ths etc. are usually determined by the melody notes and the style of music being played.

            Key of Eb   4/4

            [:  Eb   Edim   |  Fm7  F#dim  |  Eb   G7   |  Ab   Abm   |
                                           1._________________________
            |   Eb   C7     |  Fm7   Bb7   |  G7   C7   |  F7   Bb7  :]
            2._____________________________
            |   Eb    Abm   |  Eb    G7    |   Cm       |   Ab7       |

            |   F7          |  C7          | Bb         |  F7         |

            |   Bb7   C7    |  F7   Bb7   ||  Eb  Edim  | Fm7  F#dim  |

            |   Eb    G7    |  Ab   Abm    |  Eb   C7   |  Fm7   Bb7  |

            |   Eb          |  Eb          |
        

A Harmonic Analysis (RMA/HA) and its worksheet are intended to show the function of the chords, the harmonic principles used, the keys and tonalities the song explores. And, can be used for scale selections and chord and scale substitutions.

< NOTE: A Harmonic Analysis Worksheet is NOT intended to be a lead leadsheet. Minimal roadmap information such as repeats, fines, D.S., D.C., and codas has been used in preparing the worksheets to somewhat mirror the leadsheet in the Daily Ukulele book.

The worksheets will show 1st, 2nd Ending, turnbacks, etc. as in indicated the Yellow Book. You should start to recognize that 1st endings typically always return to a previous verse or an section. With a 2nd ending, a transition to a different part of the song, a or chorus. Harmonic Principles are used for these repeats and transitions.

If turnback chords are not indicated for the these 1st and 2nd endings in the original Yellow Book leadsheet recommended chord(s) will indicated in parentheses or as an alternate harmony in Red . Typically the last measures or turnbacks will be a chord that resolves to and harmonically leads you to the next section or turning you back to the same section. Typically a V or direct substitution of that next chord.

Reference Key

This is the key of the source leadsheet.

• Ain't Misbehavin' is in the Key of C .

Harmonic Principles Used:

These are the harmonic principles used in Ain't Misbehavin'.

• Full Diatonic
• Partial Diatonic • Full Diatonic includes Secondary Dominant chords
• A brief Internal Modulation

Nashville Numbering System always uses four bars/measures per line, no bar lines, and default is each number of the number of beats per bar/measure based on the time signature. If multiple chords in same bar then they are underlined. It can be as simple as convert the Roman Numerals above to Arabic number.

At its simplest you simply replace the roman numbers with aberic numbers. e.g., I becomes 1 , II becomes 2 , etc. The only exception is the bVII7 chord becomes 7 as this borrowed chord from the Mixolydian tonality is so common and the VII (half-diminished seventh) in a major chord is so rare (actually never).

Check the definitive book Nashville Number System

Once a Harmonic Analysis has been completed then scale selections can be made. These scale selections can be either vertical and horizontal choices. And, really only needed if you are going to take a solo or embellish the melody with added notes.

Scale Abbreviation Legend

Traditional Scales: Maj: Major (Ionian), Dim: Diminished, WT: Whole Tone, Har Min: Harmonic Minor,
Contemporary Scales: Minor Pent: Minor Pentatonic, Pent: Major Pentatonic, Blues,
Scale/Mode Names: Ion: Ionian (Major), Dor: Dorian (Minor), Phrygian: Phrygian, Lyd: Lydian, Mix: Mixolydian (Dominant), Aeol: Aeolian (Natural Minor), Loc: Locrian

Checkout LESSONSeries : Harmonic Analysis for Scale and Chord Selection or download the Harmonic Analysis for Scale and Chord Selection book. And the QuickStart Series of Scale and Arpeggio books.

• (wikiwand) Ain't Misbehavin'
• Fats Waller – Ain't Misbehavin' – Stormy Weather (1943)