Alone Together

Summary

😇 Understanding the Structure of “Alone Together”

Primary Form and Variations

Originally played as a fox trot, “Alone Together” has evolved through various styles including ballad and up-tempo versions. Its form is somewhat unusual, often described as an AABC structure, with the A section spanning 14 bars, and B and C sections each lasting 8 bars.

Key Signature and Tonal Centers

The original key is D minor, but many versions transpose to different keys such as C minor or E minor. This flexibility allows performers to adapt the song to their vocal or instrumental range.

🎹 In-Depth Harmonic Analysis

Basic Chordal Framework

To simplify understanding, the song can be transcribed in the key of C minor for theoretical analysis. The progression typically begins on the i minor chord (Cm), moving through the iv minor (Fm) and the ♭III major (E♭ major) before resolving interestingly on a major I chord (C major) instead of the expected minor tonic. This modal interchange – alternating between minor and major modes – adds emotional complexity to the piece.

A Section Harmony Breakdown

• First 14 bars: The A section features a 14-bar progression starting with Cm, moving to Fm7, transitioning to E♭ major, and ending on C major.
• The presence of ii-V-I progressions (e.g., Dø7 – G7 – Cm) allow smooth modulations between relative keys, notably between C minor and E♭ major.

Bridge and Modulations

The B and C sections often modulate to the iv minor (Fm) and the relative major (E♭ major), incorporating 2-5-1 progressions in these keys. This creates a harmonic journey that both challenges and inspires improvisers.

🔺 Advanced Harmonic Concepts

Tritone Substitutions and Turnarounds

The tune employs tritone substitutions (e.g., A♭7 instead of D7) to create tension and release, common in jazz harmony. The turnaround at the end of sections often utilizes a II-7b5 – V7(b9) – I-6 progression, a hallmark of minor key jazz standards.

Diminished Scales and Chord-Scale Relationships

Chords like A♭ diminished are analyzed through the lens of diminished scales (whole-half). The diminished scale starting on G7 (half-whole), for example, shares the same notes as the A♭ diminished scale but shifted in context, providing musicians with multiple options for improvisation.

🎶 Performance Practices and Interpretation

Stylistic Approaches

“Alone Together” can be performed in a variety of styles:

• Ballad: Slow, emotive interpretations emphasize the lyricism.
• Up-tempo Swing: A more energetic feel suitable for jam sessions.
• Slow Latin Feel: A unique and expressive approach that blends rhythmic complexity with harmonic sophistication.

Melodic Embellishments and Improvisation

One distinctive improvisational technique includes playing “blue” or “spicy” notes over major chords, such as the use of a flat ninth (E♭) over a D major 7 chord. This adds tension and individuality but requires confidence and ear training to resolve effectively.

Trio Settings and Instrumentation

Performing “Alone Together” in a trio setting (bass, drums, and a lead instrument) leaves harmonic space that allows for more adventurous note choices and reharmonizations. 

🎯 Practical Tips for Jazz Musicians

Memorizing Chord Progressions

Focus on the functional harmony and key centers rather than every chord symbol. For example, summarize the progression as:

• Start on i minor
• Move to iv minor
• Transition to ♭III major (relative major)
• Return to I major (modal interchange)

This approach facilitates quick communication during jam sessions.

Transposition Practice

Practice the 2-5-1 progressions and key modulations in all 12 keys. This builds fluency and prepares you to adapt to different band settings and solo opportunities.

Phrasing and Rhythm

Experiment with playing the melody rubato (flexible tempo) and in different rhythmic feels. Try the original slow ballad, medium swing, and Latin grooves to find your personal connection to the tune.

🎧 Versions and Interpretations to Study

Iconic Recordings

• Original Recording: Features the classic minor-to-major ending and the characteristic 14-bar A section.
• Peggy Lee Version: Adds two bars to the A section, extending the major tonic chord for a 16-bar form.
• Ella Fitzgerald Version: Known for its swinging tempo and vocal finesse.
• Chet Baker and Kenny Dorham: Trumpet-led ballad interpretations highlighting melodic sensitivity.
• Modern Trio Recordings: Showcases reharmonizations and melodic creativity, including Latin influences.

Frequently Asked Questions (FAQ)

Why does “Alone Together” end on a major chord in a minor key?

This is a modal interchange technique, creating a surprising and emotionally satisfying resolution by shifting from minor to major mode on the tonic chord.

How should I approach the diminished chords in the tune?

Use diminished scales (whole-half or half-whole) related to the dominant chords they substitute. Understanding their function as passing or tension chords helps in improvisation.

Can I change the key when playing “Alone Together”?

Yes, the song is frequently transposed to suit vocal ranges or instrumental comfort, commonly performed in D minor, C minor, or other keys.

Conclusion

“Alone Together” stands as a beautiful example of jazz’s harmonic richness and interpretative flexibility. By mastering its unique form, chord progressions, and stylistic nuances, musicians can unlock new levels of expression and creativity. Whether you’re a vocalist, instrumentalist, or improviser, this song offers endless opportunities for growth and exploration.

Practice the chord changes, experiment with different rhythmic feels, and immerse yourself in the various recordings to truly make “Alone Together” your own.

Start Playing “Alone Together” Today

Take these insights and start exploring the song yourself. Memorize the form, practice the chord scales in all keys, and don’t hesitate to experiment with melodic and harmonic ideas. Share your recordings with fellow musicians or instructors to get feedback and deepen your understanding.

Happy playing and stay inspired!