Workshop 2 — “Autumn Leaves”: ii–V–I, Circle Motion, Minor Resolution, and Real Jazz Language
This is an excellent next tune because it takes almost everything we learned theoretically and puts it into a real standard.
The core lessons are:
- major ii–V–I
- minor ii–V–i
- circle-of-fifths root movement
- guide-tone voice leading
- relative major/minor
- seventh-chord function
- melodic targeting
- reharmonization that still respects the form
We’ll work in the common key center of G minor / B♭ major.
2.1The harmonic skeletonA common opening progression is:2.2Look at the rootsRoots:2.3First four chordsCm7 → F7 → B♭maj7 → E♭maj72.4Hear the first ii–V–IIn B♭ major:2.5Guide-tone skeletonFor Cm7:2.6Play only guide tonesLH:2.7Add the IV chordThen E♭maj7.2.8Now the minor ii–V–iThe next important progression:2.9Why D7 uses F♯G natural minor has:2.10Hear the minor cadencePlay:2.11Compact minor guide tonesAm7♭5:2.12The harmonic geographySo the opening moves:2.13Relative major/minor relationshipB♭ major:2.14Level 1 — Melody onlyBefore harmony, learn the melody by ear if you don't already know it.2.15Level 2 — Bass roots onlyPlay melody with bass roots:2.16Level 3 — Shell voicingsUse:2.17Level 4 — Add the melody on topNow keep melody above those shells.2.18Level 5 — Add 9thsUpgrade:2.19Practical voicingsCm9:2.20Minor ii–V voicingsAm7♭5:2.21Gm6 versus Gm7Gm7:2.22Level 6 — Left-hand roots, right-hand rootless voicingsOnce LH root is stable, remove roots from RH.2.23Level 7 — Voice-leading exerciseDo not play the melody.2.24The tune is a voice-leading lessonIf you find yourself jumping all over the keyboard, stop.2.25Level 8 — Ballad treatmentPlay it as a slow jazz ballad.2.26Level 9 — Swing treatmentNow give it a medium swing feel.2.27Swing comping principleDo not hit a chord on every beat.2.28Melody timingPlay the melody slightly behind or ahead in places.2.29Level 10 — Improvise with chord tones onlyFirst improvisation chorus:2.30Target the 3rdsPlay one note per chord:2.31Target the 7thsCm7: B♭2.32Level 11 — Use scale contextFor:2.33Over D7, F♯ mattersIf you keep playing F natural over D7, you weaken its dominant identity.2.34Level 12 — Guide-tone improvisationCreate lines centered on:2.35Add passing notesExample:2.36Level 13 — Chromatic approachesTarget A over F7.2.37EnclosuresTarget A:2.38Level 14 — Motif developmentTake a 3-note motif.2.39Sequence through the circleBecause the roots cycle by fifths, sequences work beautifully.2.40Level 15 — ReharmonizationNow we start changing things.2.41Hear the tritone substitutionF7:2.42Tritone-sub dominant into GmNormal:2.43This creates two chromatic ii–V resolutionsMajor:2.44Level 16 — Add a turnaroundAt the end of the form, instead of simply holding Gm, create motion back to the beginning.2.45Parallel-quality transformationGm:2.46Level 17 — Bass-line arrangementDesign bass:2.47Level 18 — CounterpointKeep melody phrase above.2.48Do not let counterpoint obscure the melodyFirst statement:2.49Level 19 — Bossa transformation“Autumn Leaves” also works beautifully with bossa-like accompaniment.2.50Level 20 — Waltz transformationNow recast it into 3/4.2.51Level 21 — Minor-color transformationAt G minor arrivals, compare:2.52Hear Gm(maj7)Play:2.53Minor tonic paletteOver G minor, you now have choices:2.54Level 22 — Altered dominantBefore Gm:2.55Practical D7♭9 voicingLH: D2.56ResolutionD7♭9:2.57Level 23 — Build an introUse the tune's own progression.2.58Another introStart with the major ii–V:2.59Level 24 — EndingSimple:2.60A strong final voicingGm6/9:2.61The first full arrangement planAm7♭5 → D7♭9 → Gm62.62Practice loop 1 — Major ii–V–ILoop:2.63Practice loop 2 — Minor ii–V–iLoop:2.64Practice loop 3 — Full circle fragmentCm7 → F7 → B♭maj7 → E♭maj7 → Am7♭5 → D7 → Gm2.65The most important ear exercisePlay:2.66Melody-versus-harmony listeningWhen you play the tune, ask of every important melody note:2.67Don't memorize it as a chord listBad:2.68Why this tune is such a foundational jazz standardIt teaches, in one compact form:2.69Your job is not to “master Autumn Leaves”Use it as a laboratory.•Homework — Workshop 2Without looking, play:•Workshop 2 mini-test1. What is Cm7-F7-B♭maj7 in B♭ major?