"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.
For a structured study on functional chord substitutions and cyclic movement, read Jazz Guitar Turnarounds.
For dedicated adult players seeking structured guidance through harmonic analysis and fretboard navigation, private instruction is available online and in Mumbai. Read about 1:1 Guitar Lessons →
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