"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.
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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