Tune Forms

32-Bar AABA Form in E

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: Emaj7 Imaj7
  2. Bar 2: C♯m7 vi7
  3. Bar 3: F♯m7 ii7
  4. Bar 4: B7 V7
  5. Bar 5: G♯m7 iii7
  6. Bar 6: C♯7 VI7
  7. Bar 7: F♯m7 ii7
  8. Bar 8: B7 V7
  1. Bar 9: Emaj7 Imaj7
  2. Bar 10: C♯m7 vi7
  3. Bar 11: F♯m7 ii7
  4. Bar 12: B7 V7
  5. Bar 13: G♯m7 iii7 C♯7 VI7
  6. Bar 14: F♯m7 ii7 B7 V7
  7. Bar 15: Emaj7 Imaj7
  8. Bar 16: the bar before again, Emaj7
  1. Bar 17: Bm7 v7
  2. Bar 18: E7 I7
  3. Bar 19: Amaj7 IVmaj7
  4. Bar 20: the bar before again, Amaj7
  5. Bar 21: C♯m7 vi7
  6. Bar 22: F♯7 II7
  7. Bar 23: F♯m7 ii7
  8. Bar 24: B7 V7
  1. Bar 25: Emaj7 Imaj7
  2. Bar 26: C♯m7 vi7
  3. Bar 27: F♯m7 ii7
  4. Bar 28: B7 V7
  5. Bar 29: G♯m7 iii7 C♯7 VI7
  6. Bar 30: F♯m7 ii7 B7 V7
  7. Bar 31: Emaj7 Imaj7
  8. Bar 32: the bar before again, Emaj7
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