![]() So, in memorizing ii-V- I patterns that I am borrowing and wanting to internalize and put into 12 keys- is it better to transpose using the numbers for each note in the run (notes over the ii and the V7 in this case) all based on the I (so, for example, if the ii-V-I is in the key of C, all of the notes used over the ii and the V would be numbered as if they are in the key of C with C as being numbered as the “1” etc) or is it better to use numbers using each root as being the “1” (so the root of the D minor would be numbered mentally as the “1” in that measure, the root of the V would be numbered mentally “1” in that measure and the root of the I chord would be numbered mentally as the “1” in that measure. In the PDF document, you’ll not only discover my transcription of Sam Jones‘ bass line but also have access to exercises designed to help you practice voice leading with the triads and the tetrads. In this lesson, we listen to the original version, simultaneously, while also exploring the famous recording by Cannonball Adderley and Miles Davis on the album Somethin’ Else. This progression can also be found in many other standards (such as All the things you are, Bluesette, Blues For Alice, Afternoon in Paris, There will never be another you, etc). ![]() Moreover, this song is structured as AABC, and its harmonic progression is based on a major and a minor II V I in the cycle of fifths. The translated version, “Autumn Leaves,” touched on the same theme, but in a gentler, more wistful way. It’s a tale of two torch songs. To begin with, the original poem was a dark lament of lost love and regret. Additionally, it was later translated by Johnny Mercer into English. ![]() ![]() “Autumn Leaves” is a popular song and jazz standard composed by Joseph Kosma in 1945 with original lyrics by Jacques Prévert in French (original French title: “ Les Feuilles mortes“). ![]()
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