Autumn Leaves — Chord Changes & Harmonic Analysis
- Composer:
- Joseph Kosma
- Year:
- 1945
- Key:
- G minor
- Form:
- AABA (32 bars)
- Style:
- Jazz Standard
- Tempo:
- 120–200 BPM
The quintessential jazz standard for beginners. Autumn Leaves cycles through a complete ii-V-I in the relative major and then ii-V-i in the relative minor, making it the perfect vehicle for practicing the most important jazz progression in both major and minor contexts.
About This Standard
Originally composed by Joseph Kosma as "Les feuilles mortes" for the 1946 French film Les Portes de la nuit, with lyrics by Jacques Prévert. The English adaptation by Johnny Mercer gave it the title Autumn Leaves. It became one of the most recorded jazz standards ever, prized by students and masters alike for its elegant cycling through ii-V-I progressions in both a major and its relative minor key.
Notable recordings:
- Cannonball Adderley — Somethin' Else (1958)
- Bill Evans — Portrait in Jazz (1959)
- Miles Davis — Miles Davis Plays for Lovers (1956)
- Keith Jarrett — Standards, Vol. 1 (1983)
Chord Changes
Notation
Section-by-Section Analysis
Summary
ii-V-I in Bb major, then ii-V-i in G minor.
Harmonic Insight
The first 4 bars descend through the circle of fourths in Bb major (Cm7→F7→Bbmaj7→Ebmaj7), then bars 5-8 do the same in G minor (Am7b5→D7→Gm7). This is the core of the tune.
Scale Guide
- Cm7: C Dorian (C D Eb F G A Bb)
- F7: F Mixolydian (F G A Bb C D Eb)
- Bbmaj7: Bb Ionian (Bb C D Eb F G A)
- Ebmaj7: Eb Lydian (Eb F G A Bb C D)
- Am7b5: A Locrian (A Bb C D Eb F G)
- D7: D Harmonic Minor of G (D Eb F# G A Bb C) or D Altered
- Gm7: G Dorian (G A Bb C D E F) or G Aeolian (G A Bb C D Eb F)
Practice Tips
- Practice the ii-V-I in Bb major first, then the ii-V-i in G minor.
- Note how Ebmaj7 (IVmaj7 of Bb) connects smoothly to Am7b5 (iiø7 of G minor).
- On the D7, try using the G harmonic minor scale for an authentic minor V7 sound.
Harmonic Analysis
Autumn Leaves cycles through a complete ii-V-I in Bb major (Cm7→F7→Bbmaj7→Ebmaj7) and then a ii-V-i in G minor (Am7b5→D7→Gm7), making it the textbook vehicle for learning these two foundational progressions side by side. The tune moves through the circle of fourths continuously, with the relative major (Bb) and relative minor (Gm) sharing all the same diatonic chords. The final section adds a chromatic chain of ii-Vs (Gm7→C7→Fm7→Bb7→Ebmaj7) before resolving home.