Fly Me To The Moon

Summary

“Fly Me to the Moon” is a timeless jazz standard famously performed by Frank Sinatra and many jazz greats. This guide dives deep into its harmonic structure, melodic nuances, and improvisational techniques. Whether you are a jazz student, professional, or enthusiast, understanding this song’s form, chord progressions, and tensions will improve your musicianship and jazz vocabulary.

Understanding the Form of “Fly Me to the Moon”

Classic Song Structure

The song can be analyzed in two main ways:

• Two 16-bar sections (A and B)
• Four 8-bar sections (A B A C or A B A B2)

The second approach breaks the progression into smaller, more digestible segments, reflecting slight chord and melodic variations. Both forms are valid, but many musicians prefer the four-section method for easier practice and improvisation.

Harmonic Analysis

Key and Tonality

The popular Frank Sinatra version is set in C major with no accidentals in the key signature. However, “Fly Me to the Moon” is played in various keys such as D♭ major and B♭ major in other notable versions.

Core Chord Progressions

The harmonic foundation revolves around classic jazz progressions:

• Starting on A minor 7 (vi)
• Moving through D minor 7 (ii)
• Resolving to G7 (V7)
• Settling on C major 7 (Imaj7)

This cycle of fifths progression (ii–V–I) is a staple in jazz harmony. Other important chords include:

• F major 7 (IVmaj7) as a subdominant chord
• B half diminished (viiø7) leading to the five of six
• Secondary dominants such as E7 (V7/vi) and A7 (V7/ii)**

The song uses numerous two-five-one (ii–V–I) sequences to smoothly navigate key areas, a technique common in many jazz standards like Autumn Leaves and All the Things You Are.

Melodic Analysis and Scale Degrees

Using the Do-Solfege System

The melody primarily targets chord tones, especially the third of each chord — a critical note for defining the chord’s quality. The solfège system (do, re, mi, etc.) helps visualize melodic movement relative to the key center.

Melody Characteristics

• Primarily diatonic to the key, with occasional chromatic passing tones (e.g., raised fifth) for color.
• The melody concludes strongly on the tonic, providing a sense of resolution.
• Voice-leading is emphasized where the chord’s seventh resolve down to the next chord’s third, creating smooth melodic transitions.

Practicing the Bass Line: The Backbone of the Song

Importance of the Bass Line

A clear and consistent bass line helps reinforce the harmonic progression and guides improvisers. The baseline for “Fly Me to the Moon” should:

• Target the root of each chord on the first beat
• Use chord tones and passing tones (diatonic and chromatic) on other beats
• Swing rhythmically to maintain jazz feel

Practice Tips

• Practice the bass line in all 12 keys to build fluency and ear training.
• Experiment with modulations, such as shifting the first chord to become the last chord of the previous key, creating smooth transitions.
• Embrace the bass line’s repetitive nature; consistency is key in jazz rhythm sections.

The Magic Formula: 3 5 7 1 and Voice Leading

Understanding the Formula

The “magic formula” 3-5-7-1 refers to targeting chord tones in a specific voice-leading pattern. This progression ensures smooth melodic movement, especially by focusing on the chord’s third and seventh degrees, which define harmonic tension and resolution.

Voice Leading Rules

• The seventh of a chord typically resolves down to the third of the next chord.
• This resolution pattern creates a natural and satisfying melodic flow.
• The melody of “Fly Me to the Moon” consistently applies this voice leading, reinforcing harmonic clarity.

Diatonic and Non-diatonic Tensions: Adding Color to Your Playing

What Are Tensions?

Tensions are notes added to chords to create complexity and color beyond the basic triad or seventh chord. They are usually the 9th, 11th, and 13th scale degrees relative to the chord root.

Diatonic Tensions

• These tensions are within the key.
• Typically, on a minor 7 chord the 9th and 11th are safe and sound good, while some tensions like the flat 13th should usually be avoided on minor chords due to dissonance within the tonal context.
• Example: On an A minor 7 chord, the 9th (B) and 11th (D) are commonly used, but the flat 13th (F) is avoided.

Non-diatonic Tensions (Alterations)

• These tensions fall outside the key and will therefore have accidentals.
• They are especially common on dominant chords to add tension before resolution.
• Example: On G7, using altered tensions like flat 9 (A♭) or sharp 9 (A♯) adds expressive dissonance.
• These tensions often come from modal interchange or melodic minor scales.

Practical Approach: Exercises and Application

Bass line Practice

• Focus on clear root notes on downbeats.
• Use chord tones and passing tones on offbeats.
• Practice swing feel and rhythmic consistency.

Melodic Targeting

• Practice the melody emphasizing the third of each chord in quarter notes to internalize voice-leading.
• Practice both descending and ascending melodic shapes in all keys.
• Experiment with different meters like 3/4 and 4/4 to gain rhythmic flexibility.

Improvisation with Tensions

• Start by improvising around diatonic tensions (9th, 11th, 13th).
• Gradually incorporate non-diatonic tensions (alterations) for color and emotional depth.
• Use voice leading principles to smoothly connect tensions through chord changes.

Key Takeaways for Mastery

• Form: Understand the song’s structure as either two 16-bar sections or four 8-bar sections.
• Harmony: Know the ii–V–I progressions and secondary dominants that create the harmonic flow.
• Melody: Target chord thirds and use voice leading to create smooth melodic lines.
• Bass line: Practice clear, swinging bass lines in all keys to internalize harmonic movement.
• Tensions: Learn which diatonic and non-diatonic tensions work on each chord to add color without clashing.
• Practice: Use varied exercises focusing on baseline, melody, and improvisation to develop a comprehensive understanding.

Final Thoughts

“Fly Me to the Moon” is a gateway into the core of jazz harmony and melody. By mastering its harmonic progressions, melodic targeting, and tension usage, you build a strong foundation for jazz improvisation and performance. Remember to practice consistently, explore all keys, and listen attentively to different versions of the song. Share your recordings and progress with fellow musicians to receive feedback and grow together.

Keep swinging, and enjoy your journey through this iconic jazz classic!