Harmonic Analysis Worksheet
& Performance Notes Below

Analysis Worksheet Chords Melody Scales Performance Links

My Favorite Things

Published 1959 by Williamson Music

My Favorite Things My Favorite Things is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music.

In the original Broadway production, this song was introduced by Mary Martin playing Maria and Patricia Neway playing Mother Abbess. Julie Andrews, who played Maria in the 1965 film version of the musical, had previously sung it on the 1961 Christmas special for The Garry Moore Show.

In 2004 the movie version of the song finished at No. 64 on AFI's 100 Years...100 Songs survey of top tunes in American cinema.

Herb Alpert and the Tijuana Brass released a version in 1969 as a single from their 1968 album, Christmas Album. It reached No. 45 on the Billboard 100. (wikiwand);

Most Jazz players, I do (Curt) will associated with the John Coltrane version of the song.

Curt, recorded My Favorite Things on my first two CDs.. 2002 Guitar, Bass Drums and 2015 Ukulele, Bass, Drums.

My Favorite Things is on my, 2015 How About More Uke?, The Curt Sheller Jazz Trio CD.

“Curt, your CD was fantastic. You are among the ukulele masters of our day.” — John K.

My Favorite Things is on my, 2002 Midnight at the Jazz Cafe, The Curt Sheller Trio CD.

My Favorite Things 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

A re-harmonization, in Red can be simple, sticking pretty close to the original composer's intentions or complex and a whole new set of chord changes.

Inspired by the John Coltrane version of My Favorite Things for the Premium Play-along track we went a bit more advertreous.

My Favorite Things — Premium Play-along Track

Premium Play-along Tracks are only available to Premium members and Active/Private Students.

Here is a Demo of Desafinado to get an idea of the quality of these custom play-along tracks.

Play-along Demo: Desafinado

Desafinado — Premium Play-along Track with Guitar Melody Played

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I, (Curt) originally created these tracks to perform over for gigs and this was a demo for booking gigs.

These Premium Play-along Tracks are available to LearningUkulele.com Site Members and are my personal one-of-kind tracks I (Curt) and Chuck Anderson recorded and arranged.

View Play-along with Leadsheet at larger size …

Em7

F#m7

Em7

F#m7

Em

Em

Em

Em

I

II

I

II

Em:

Bm7

Am7

Bm7

Cmaj7

Cmaj7

Cmaj7

Cmaj7

IV

III

II

III

G:

Am7

Gmaj7

Cmaj7

Am

D7

G

C

II

V

I

IV

1.

Gmaj7

Cmaj7

F#m7b5

B7

G

C

Am

B7

I

IV

II

V

Em:

Using Am in measure three above is close, with the notes A C E also in the F#m7b5 (F# A C E) but Am would create the wrong harmonic analysis and misses the modulation back to Em that should start in this measure — not the next measure.
F# Locrian is a great contemporary scale choice for the II V to Em vs. the traditional Harmonic Minor of the I choice..

2.

Em7

F#m7b5

B7

F#m7b5

B7

Em

Em

Am

B7

I

II

V

II

V

F# Locrian

F# Locrian

There's that Am in measure three above pretending to be F#m7b5 (F# A C E) . This time the II V is a Picardy Third resolving to resolving to E .
F# Locrian is contemporary scale choice for a Picardy Third vs. the traditional Harmonic Minor of the I choice.

Emaj7

F#m7b5

B7

E

E

I

II

V

E:

F# Locrian * Picardy Third

The above two measure are not on the play-along track.

Emaj7

F#ma7

Emaj7

F#m7

E

E

E

E

I

II

I

II

E:

Amaj7

G#m7

F#m7

G#m7

A

A

A

A

IV

II

II

III

Am7

Gmaj7

Cmaj7

Am

D7

G

C

II

V

I

IV

G:

Gmaj7

Cmaj7

F#m7b5

B7

G

C

Am

B7

I

IV

II

V

F# Locrian

Em7

F#m7b5

B7

Em

Em

Am

/

/

B7

I

I

II

V

/

/

F# Locrian

Em7

Cmaj7

Em

Em

C

C

I

I

IV

C

Cmaj7

A7/C#

C

C

A7

A7

IV

IV

II7
( V of V)

II7

G:

A Mix

Gma7

Cmaj7

G

C

G

C

C

D7

I

IV

I

IV

IV

V

G6

Cmaj7

G6

Cmaj7

G

G

G

G

I

IV

I

IV

End on G6 , the I of the Relative Major of Em . Or, be adventurous, wait for one beat and try Em6/9 — 0 2 2 4.
For a Turnback to play the song again us the F#m7b5 B7 , the II V to Em.

Ralph Patt Vanilla Book

Checkout the Ralph Patt Vanilla Book Vanilla changes for My Favorite Things • 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.

                
            [:   Em       |  Em        |  Em        |  Em          |
            |    C        |  C         |  C         |  C           |
            |    Am7      |  D7        |  G         |  C           |
            |    G        |  C         |  F#m7b5    |  B7         :]
            ||   E        |  E         |  E         |  E           |
            |    A        |  A         |  A         |  A           |
            |    Am7      |  D7        |  G         |  C           |
            |    G        |  C         |  F#m7b5    |  B7          |
            ||   Em       |  Em        |  F#m7b5    |  B7          |
            |    Em       |  Em        |  C         |  C           |
            |    C        |  C         |  A7        |  A7          |
            |    G        |  C         |  C         |  D7          |
            |    G        |  C         |  G         |  C           |
            1._________________________________________________  D.C.
            |    G        |  C         |  F#m7b5    |  B7         :]
            2.________________________________________ Last Time __
            |    G        |  C         |  G         |  G           |
            

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.

• My Favorite Things is in 3/4, Common Time and the Key of Em/G .

Harmonic Principles Used:

These are the harmonic principles used in My Favorite Things.

• Full Diatonic
• Partial Diatonic • Full Diatonic includes Secondary Dominant chords
• 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) My Favorite Things
• (wikiwand); My Favorite Things (John Coltrane album)
• My Favorite Things – John Coltrane [FULL VERSION] HQ •