Tune Forms

32-Bar AABA Form in Bb

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: B♭maj7 Imaj7
  2. Bar 2: Gm7 vi7
  3. Bar 3: Cm7 ii7
  4. Bar 4: F7 V7
  5. Bar 5: Dm7 iii7
  6. Bar 6: G7 VI7
  7. Bar 7: Cm7 ii7
  8. Bar 8: F7 V7
  1. Bar 9: B♭maj7 Imaj7
  2. Bar 10: Gm7 vi7
  3. Bar 11: Cm7 ii7
  4. Bar 12: F7 V7
  5. Bar 13: Dm7 iii7 G7 VI7
  6. Bar 14: Cm7 ii7 F7 V7
  7. Bar 15: B♭maj7 Imaj7
  8. Bar 16: the bar before again, Bbmaj7
  1. Bar 17: Fm7 v7
  2. Bar 18: B♭7 I7
  3. Bar 19: E♭maj7 IVmaj7
  4. Bar 20: the bar before again, Ebmaj7
  5. Bar 21: Gm7 vi7
  6. Bar 22: C7 II7
  7. Bar 23: Cm7 ii7
  8. Bar 24: F7 V7
  1. Bar 25: B♭maj7 Imaj7
  2. Bar 26: Gm7 vi7
  3. Bar 27: Cm7 ii7
  4. Bar 28: F7 V7
  5. Bar 29: Dm7 iii7 G7 VI7
  6. Bar 30: Cm7 ii7 F7 V7
  7. Bar 31: B♭maj7 Imaj7
  8. Bar 32: the bar before again, Bbmaj7
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