Tune Forms

32-Bar AABA Form in A

A typical 32-bar AABA song form: eight-bar A sections built from I-vi-ii-V and iii-VI-ii-V, and a bridge that moves to IV and comes back through II7.

120 BPM
Practice in all 12 keys
  1. Bar 1: Amaj7 Imaj7
  2. Bar 2: F♯m7 vi7
  3. Bar 3: Bm7 ii7
  4. Bar 4: E7 V7
  5. Bar 5: C♯m7 iii7
  6. Bar 6: F♯7 VI7
  7. Bar 7: Bm7 ii7
  8. Bar 8: E7 V7
  1. Bar 9: Amaj7 Imaj7
  2. Bar 10: F♯m7 vi7
  3. Bar 11: Bm7 ii7
  4. Bar 12: E7 V7
  5. Bar 13: C♯m7 iii7 F♯7 VI7
  6. Bar 14: Bm7 ii7 E7 V7
  7. Bar 15: Amaj7 Imaj7
  8. Bar 16: the bar before again, Amaj7
  1. Bar 17: Em7 v7
  2. Bar 18: A7 I7
  3. Bar 19: Dmaj7 IVmaj7
  4. Bar 20: the bar before again, Dmaj7
  5. Bar 21: F♯m7 vi7
  6. Bar 22: B7 II7
  7. Bar 23: Bm7 ii7
  8. Bar 24: E7 V7
  1. Bar 25: Amaj7 Imaj7
  2. Bar 26: F♯m7 vi7
  3. Bar 27: Bm7 ii7
  4. Bar 28: E7 V7
  5. Bar 29: C♯m7 iii7 F♯7 VI7
  6. Bar 30: Bm7 ii7 E7 V7
  7. Bar 31: Amaj7 Imaj7
  8. Bar 32: the bar before again, Amaj7
Voicing family

Four-note rootless voicings in their two forms, with the 3rd or the 7th on the bottom, played over the root.

Customize each chord
Meter
4/4
Form
A-A-B-A
Bars
32

Most standards written between the 1920s and the 1950s have this shape: a theme stated twice, a contrasting bridge, and the theme again. This chart is a generic skeleton rather than any one song, but its moves (a ii-V into IV at the bridge, a II7 leading back to ii-V) turn up everywhere. Practice keeping your place in the form: play through it counting bars, and listen for where each section begins.

Reharmonize Analyze these changes