"Just Friends," composed by John Klenner with lyrics by Sam M. Lewis in 1931, became a widely performed jazz standard. The tune has been recorded by many artists including Charlie Parker, Chet Baker, and Stan Getz. Let's analyze the song.
Chord Chart (Key of G)
| CMaj7 | % | Cm7 | F7 |
| GMaj7 | % | B♭m7 | E♭7 |
| Am7 | D7 | GMaj7 | Em7 |
| A7 | % | Am7 D7 | Dm7 G7 |
| CMaj7 | % | Cm7 | F7 |
| GMaj7 | % | B♭m7 | E♭7 |
| Am7 | D7 | F#m7♭5 B7♭9 | Em7 |
| A7 | Am7 D7 | GMaj7 | % |
Harmonic Overview
Just Friends follows a 32 bar ABAC form. The opening phrase introduces a backdoor dominant progression through Cm7 - F7 resolving to GMaj7. Much of the tune moves through chains of ii - V progressions, including chromatic ii - V motion. Toward the end the harmony forms a minor ii - V - i cadence through F#m7♭5 - B7♭9 - Em7.
Song Analysis
Bars 1 - 4: Parallel Minor and Backdoor Motion
| CMaj7 | % | Cm7 | F7 |
CMaj7 stays for two bars.
Cm7 moves to F7 forming a backdoor dominant progression that resolves to GMaj7.
Bars 5 - 8: Tonic and ii - V Motion
| GMaj7 | % | B♭m7 | E♭7 |
GMaj7 stays for two bars.
B♭m7 moves to E♭7 forming a ii - V progression.
Bars 9 - 12: Chromatic ii - V Motion and ii - V - I Cadence
| Am7 | D7 | GMaj7 | Em7 |
In the previous phrase B♭m7 moves to E♭7 forming a ii - V progression.
Am7 moves to D7 forming another ii - V progression. The motion from B♭m7 - E♭7 to Am7 - D7 creates chromatic ii - V motion.
Am7 moves to D7 resolving to GMaj7 forming a ii - V - I cadence.
Em7 appears in bar 12. Em7 moves to A7 in the next phrase forming another ii - V progression.
Bars 13 - 16: Chain of ii - V Progressions
| A7 | % | Am7 D7 | Dm7 G7 |
Em7 from the previous bar moves to A7 forming a ii - V progression.
A7 stays for two bars.
Am7 moves to D7 forming a ii - V progression.
Dm7 moves to G7 forming another ii - V progression.
These progressions continue without resolving, creating unfinished cadences.
Bars 17 - 20: Return of the Opening Motion
| CMaj7 | % | Cm7 | F7 |
CMaj7 stays for two bars.
Cm7 moves to F7 forming a backdoor dominant progression that resolves to GMaj7.
Bars 21 - 24: ii - V Motion
| GMaj7 | % | B♭m7 | E♭7 |
GMaj7 stays for two bars.
B♭m7 moves to E♭7 forming another ii - V progression.
Bars 25 - 28: Minor ii - V - i
| Am7 | D7 | F#m7♭5 B7♭9 | Em7 |
Am7 moves to D7 forming a ii - V progression.
F#m7♭5 moves to B7♭9 resolving to Em7. This progression forms a minor ii - V - i cadence in E minor.
Bars 29 - 32: Final Cadence
| A7 | Am7 D7 | GMaj7 | % |
Em7 from the previous phrase moves to A7 forming a ii - V progression.
Am7 moves to D7 resolving to GMaj7. This progression forms a ii - V - I cadence.
Related Harmonic Studies
On Green Dolphin Street: backdoor dominant motion and chromatic ii - V movement
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