My Funny Valentine

Harmonic Analysis (RMA) Worksheet for the song: My Funny Valentine.

Harmonic Analysis Worksheet
& Performance Notes Below

Analysis Worksheet Chords Melody Scales Performance Links

My Funny Valentine

Published: 1937 by Chappell & Co.

My Funny Valentine is a show tune from the 1937 Richard Rodgers and Lorenz Hart coming of age musical Babes in Arms in which it was introduced by teenaged star Mitzi Green. The song became a popular jazz standard, appearing on over 1300 albums performed by over 600 artists. One of them was Chet Baker, for whom it became his signature song. In 2015, it was announced that the Gerry Mulligan quartet featuring Chet Baker's version of the song was inducted into the Library of Congress's National Recording Registry for the song's "cultural, artistic and/or historical significance to American society and the nation’s audio legacy". Mulligan also recorded the song with his Concert Jazz Band in 1960. (wikiwand) ·

My Funny Valentine 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

Chords

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

C Tuning Chords

Starting Melody Note and 1st Interval

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;

Harmonic Analysis (HA)

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.

A Harmonic Analysis Worksheet is NOT intended to be a leadsheet and minimal roadmap information such repeats, fines, D.S., D.C., codas have been used in preparing the worksheets to somewhat mirror the leadsheet in the Daily Ukulele book..

Sections, Verse, Chorus, 1st, 2nd Ending, turnbacks …

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 or verse or section. With a 2nd ending, a transition to a different section, a or chorus. Harmonic Principles are used for these repeats and transitions.

If turnbacks chord are not indication for the these 1st, 2nd Ending will indicate recommended chord(s) 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.

Harmonic Analysis (HA) Worksheet

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

Am

/G#

/G

/F#

Am

G#+

Am7

Am6

I

I

I

I

Am:

This is the Minor Line Cliche and basically Am Am/G# Am/G, Am/F#. A descending, chromatic line A G# G F# — the Root (A), major seventh (7), minor seventh (b7), and sixth (6), but probably really double flat seventh (bb7). This is a very common mi-labeling of the chords for either marketing purposes as in the Daily Ukes books or the composer simply didn;t know the theory.

* PSHA (Public Service Harmonic Announcement) • Don't name chord based their shape — name them based on the their Harmonic Function.. Or simply ask the bass player, hoping they know what they are doing what note they are playing, it is most likely starts with the root of the chord. ;-).

Fmaj7

/E

Dm

/C

Bm7b5

/A

E7/G#

/E

F

Dm

Bm7b5

E7

VI

IV

II

V

B Locrian * B C D E F G A B', a contemporary scale choice

The / , slash chords, the slash note part is typically ignored for the analysis — unless it changes the harmonic function of the chord.

Am

/G#

/G

/F#

Am

G#+

Am7

Am6

I

I

I

I

Am:

Fmaj7

/E

Dm7

Dm7b5

G7

F

Dm

Fm

G7

VI

IV

II

V

C:

Cmaj7

Dm7

Em7

Dm7

Cma7

Dm7

Em7

Dm7

C

Dm

Em7

Dm

C

Dm

Em7

Dm

I

II

III

II

I

II

III

II

C:

The C pedal for four (4) measures. On ukulele this is not really possible and still voice the chords across all four strings. So be cure to tell the bass player to pedal a C for those four measures.

Cmaj7

E+7

E7b9

Am7

Gm7

F#7

Fmaj7

Bm7b5

E7b9

Cmaj7

E7

Am

F

E7

I

III7
( V of VI)

VI

VI

II

V

C:

Remember, a Harmonic Analysis/Root Movement Analysis (HA/RMA) is for scale selection and chord substitution. No need for an analysis of single beat, chromatically descending or ascending chords. Two beats chords are the shortest duration that need to be analyzed.

Am

/G#

/G

/F#

Am

G#+

Am7

Am6

I

I

I

I

Am:

The above line is the same as the first four measure, the first line of the song.

Fmaj7

Bm7b5

E7b9

Am7

Abm7

Gm7

Gb7#11

F

Bm7b5

E7

Am

C7

VI

II

V

I

III7
( V of VI)

B Locrian * B C D E F G A B', a contemporary scale choice

Fmaj7

Em7

Dm7

G7b9

C6

Bm7b5

E7b9

F

Dm

G7

C

C

VI

II

V

II

IV

C:

Am:

Ralph Patt Vanilla Book

Checkout the Ralph Patt Vanilla Book Vanilla changes for My Funny Valentine • 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.

                
            [   Cm         |  Cm maj7    |   Cm7       |   Cm6         |
            |   Ab6        |  Ab6        |   Dm7b5     |   G7          |
            |   Cm         |  Cm maj7    |   Cm7       |   Cm6         |
            |   Ab6        |  Ab6        |   Fm7b5     |   Bb7         |
            ||  Eb   Bb7   |  Eb   Bb7   |   Eb   Bb7  |   Eb    Bb7   |
            |   Eb    G7   |  Cm   Eb7   |   Ab        |   Dm7b5  G7   |
            |   Cm         |  Cm maj7    |   Cm7       |   Cm6         |
            |   Ab         |  G7         |   Cm        |   Bbm7   Eb7  |
            |   Ab         |  Fm7   Bb7  |   Eb        |   Eb          |
            

Nashville Number System (NNS)

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.

Scale Selection

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.

Performance Notes

Links & Resources

• (wikiwand) My Funny Valentine
• (wikiwand) · My Funny Valentine
• My Funny Valentine • Frank Valentine
• My Funny Valentine • Miles Davis