I’m Old Fashioned

Understanding the Song Structure and Form

Basic Form and Length

“I’m Old Fashioned” follows an unusual 36-bar form divided into four sections labeled A, B, C, and D. The first three sections (A, B, and C) each consist of 8 bars, while the final D section extends to 12 bars. This distinctive structure sets it apart from the more common 32-bar standards.

• Form: A (8 bars) | B (8 bars) | C (8 bars) | D (12 bars)
• Total Bar Count: 36 bars

Comparison to Other Standards

The 36-bar form is rare but can be compared to standards like “All The Things You Are” which also feature extended sections. Understanding this form is crucial for navigating the harmonic progressions and improvisational pathways unique to this tune.

Harmonic Analysis: Exploring the Chord Progressions

Key Centers and Modulations

The tune is often played in F major, but various artists perform it in different keys such as E♭ and B♭. A notable feature of the song is its modulation by a major third, which creates harmonic interest and complexity.

• Primary Key: F major
• Modulation: Up a major third (e.g., to A major from F major)
• Other Common Keys: E♭ major, B♭ major

Core Progressions: The I-VI-II-V Pattern

At its harmonic core, “I’m Old Fashioned” relies heavily on the classic jazz progression I-VI-II-V, repeated throughout the A, B, and C sections:

• In F Major: Fmaj7 (I) → Dm7 (vi) → Gm7 (ii) → C7 (V)
• This progression creates smooth voice leading and a strong tonal center.

Secondary Dominants and Substitutions

The tune uses several secondary dominants to add harmonic color and tension:

• Example: A7 functioning as V7/vi (dominant of D minor, the vi chord in F major)
• G7 acting as V7/V (dominant of C7, the V chord)

The Diminished Chord as a Pivot

A distinctive feature is the use of a diminished chord (F♯ diminished) functioning as a V7♭9 leading to G minor. This chord acts as a pivot to modulate back to F major, showcasing sophisticated harmonic movement.

• D7♭9 (F♯dim7) → Gm7 (ii in F major)

Backdoor Dominant and Deceptive Resolutions

The progression incorporates the “backdoor dominant,” a ♭VII7 chord (E♭7 in F major) that resolves to the tonic, offering a softer alternative to the traditional V7 chord.

• Backdoor dominant: E♭7 → Fmaj7
• The deceptive resolution often involves the use of ♯IV diminished chords leading into minor subdominants.

Melodic Analysis: The Beauty of Simplicity and Motifs

Diatonic Melody with Few Foreign Notes

The melody is predominantly diatonic to the key, meaning it uses mostly notes from the F major scale with minimal chromaticism. This simplicity allows for clear melodic lines and emotional expression.

Use of the Tonic Triad

Remarkably, the opening phrase of the melody employs only the tonic triad notes (F, A, C), creating a strong, grounded feeling before exploring more complex harmonic areas.

Recognizable Motifs and Repetition

Several melodic motifs appear throughout the tune with slight variations, helping to unify the melody and making it memorable.

Practical Improvisation Tips

Targeting Important Chord Tones and Tensions

When improvising, focus on chord tones and characteristic tensions to highlight the harmony:

• Essential chord tones: 3rd, 7th
• Important target notes: C♯ (from A7), B natural (♯4 in F major), E♭ (from E♭7), and F♯ (diminished chord tone)

Using the Diminished Scale

The diminished scale (whole-half) fits perfectly over diminished chords such as the F♯dim7, enabling smooth voice leading and tension release.

Intervallic Improvisation: The Interval of a Sixth

Practicing improvisation lines using the interval of a sixth (major or minor) can add melodic interest and emotional depth. This interval is highly “singing” and expressive.

Arpeggios and Voice Leading

Applying arpeggios starting on the 3rd of each chord and focusing on voice-leading principles can help connect chord tones smoothly and create coherent lines.

Bass line Practice: Developing Time and Ear Training

Importance of playing the bass line

Practicing the bass line, especially in two and four-beat patterns, helps solidify the harmonic understanding and improves timing. Targeting chord roots and key tensions ensures better interaction with rhythm section players.

Chromatic Passing Tones

Incorporating chromatic passing tones into the bass line (e.g., between F and B♭) adds melodic movement and connects harmonic tones effectively.

Insights from Master Pianist Kenny Drew

Incorporating Solo Ideas

Kenny Drew’s solo approach features arpeggios starting on the 3rd and melodic phrases that embrace both minor and major tonalities. Adopting such ideas can enrich your solos on “I’m Old Fashioned.”

Creating Tension with Altered Chords

Experiment with altered dominant chords by including flat 9, sharp 9, and flat 13 tensions to add modern jazz flavor while respecting the tune’s harmonic framework.

Key Concepts to Master “I’m Old Fashioned”

• Understand the unique 36-bar form (A, B, C, D) and how the D section extends the harmonic narrative.
• Master the 1I-VI-II-V progression and its variations including secondary dominants and diminished pivot chords.
• Explore modulation by a major third, a characteristic harmonic move in this tune.
• Focus on diatonic melody with strategic use of foreign notes to enhance improvisation.
• Practice intervallic improvisation, especially sixths, and apply arpeggios with voice leading.
• Work on bass line practice to improve time, ear, and collaboration with rhythm sections.
• Incorporate advanced jazz techniques such as backdoor dominants, diminished scales, and altered chords.

Frequently Asked Questions

Q1: Why is the form of “I’m Old Fashioned” considered unusual?
The song has a 36-bar form divided into 8, 8, 8, and 12-bar sections, unlike the common 32-bar AABA form, making it unique in jazz repertoire.

Q2: What is a backdoor dominant chord?
It’s a ♭VII7 chord (like E♭7 in F major) that resolves to the tonic, providing a softer, alternative resolution compared to the traditional V7 chord.

Q3: How can the diminished 7th chord be used as a pivot in this tune?
The F♯ diminished chord functions as a V7♭9 of G minor, facilitating modulation back to the home key of F major through smooth voice leading.

Q4: What are good target notes for improvisation on this tune?
Notes that highlight chord tones and tensions are essential for expressive solos.

Mastering “I’m Old Fashioned” offers a rich journey through classic jazz harmony, melodic clarity, and improvisational creativity. Use this guide to deepen your understanding and bring fresh nuance to your performances of this beloved standard.

Keep swinging!