"On Green Dolphin Street," composed by Bronisław Kaper with lyrics by Ned Washington in 1947, became a widely performed jazz standard. The tune has been recorded by many artists including Miles Davis, Bill Evans, and Grant Green. Let's analyze the song.
Chord Chart (Key of C)
| CMaj7 | % | Cm7 | % |
| D9 | D♭9 | CMaj7 | A7 |
| Dm7 | G7 | CMaj7 | % |
| Fm7 | B♭7 | E♭Maj7 | G7 |
| CMaj7 | % | Cm7 | % |
| D9 | D♭9 | CMaj7 | % |
| Dm7 | Bm7♭5 E7♭9 | Am7 | F#m7♭5 B7 |
| Em7 A7 | Dm7 G7 | CMaj7 | % |
Harmonic Overview
On Green Dolphin Street follows a 32 bar ABAC form. The opening phrase moves from CMaj7 to Cm7 introducing the parallel minor concept. Other sections of the tune move through ii - V progressions, chromatic dominant motion, and tritone substitution.
Song Analysis
Bars 1 - 4: Parallel Major to Minor
| CMaj7 | % | Cm7 | % |
CMaj7 stays for two bars.
Cm7 stays for two bars. The change from CMaj7 to Cm7 introduces the parallel minor concept.
Bars 5 - 8: Dominant Motion and Tritone Substitution
| D9 | D♭9 | CMaj7 | A7 |
D9 functions as the dominant built on the second degree. It moves toward the V chord G7.
Instead of moving to G7, the harmony moves to D♭9. This chord functions as a tritone substitution for G7.
The progression moves to CMaj7 completing a dominant ii - V - I motion, with the V chord substituted.
A7 appears in the final bar and functions as the dominant leading to Dm7 in the next phrase.
Bars 9 - 12: ii - V - I Cadence
| Dm7 | G7 | CMaj7 | % |
Dm7 moves to G7 resolving to CMaj7. This progression forms a ii - V - I cadence.
CMaj7 stays for the following bar.
Bars 13 - 16: ii - V - I in E♭ Major
| Fm7 | B♭7 | E♭Maj7 | G7 |
Fm7 moves to B♭7 resolving to E♭Maj7. This progression forms a ii - V - I cadence in E♭ major.
G7 is the dominant that resolves to CMaj7.
Bars 17 - 20: Return of the Opening Motion
| CMaj7 | % | Cm7 | % |
CMaj7 stays for two bars.
Cm7 stays for two bars. The change from CMaj7 to Cm7 introduces the parallel minor concept again.
Bars 21 - 24: Chromatic Dominant Motion
| D9 | D♭9 | CMaj7 | % |
D9 again moves toward the V chord G7.
Instead of moving to G7, the harmony moves to its tritone substitute, resolving to CMaj7.
Bars 25 - 28: Minor ii - V - i Cadences
| Dm7 | Bm7♭5 E7♭9 | Am7 | F#m7♭5 B7 |
Dm7 functions as the ii chord of C major.
Bm7♭5 moves to E7♭9 resolving to Am7. This progression forms a minor ii - V - i cadence.
F#m7♭5 moves to B7 forming another ii - V progression that resolves to Em7 in the next phrase.
Bars 29 - 32: Chain of ii - V Motion
| Em7 A7 | Dm7 G7 | CMaj7 | % |
Em7 moves to A7 forming a ii - V progression.
Dm7 moves to G7 resolving to CMaj7 forming a ii - V - I cadence.
Related Harmonic Studies
Just Friends: chromatic ii - V motion and chains of ii - V progressions
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