My Funny Valentine Tutorial Part 1
My Funny Valentine is one of the classic jazz standards! A difficult tune to learn, in this lesson we breakdown the complicated chord changes and build a solo arrangement. Written in the key of C minor, the tune follows a 36 measure A, A, B, A form. Although the tune starts in C Minor, it shifts to the relative major, Eb, during the bridge.
To play this tune effectively, you should have a good understanding of the minor line cliche which is one of the most common chord progressions in jazz music. This four chord progression appears 3 times in the form and so understanding the root movement will give you a variety of voicing options. The minor line cliche has become synonymous with this tune and is sometimes referred to as the ‘My Funny Valentine Progression’.
We start this lesson slightly differently by analysing Herbie Hancock’s intro on the Miles Davis Sextet version of My Funny Valentine. Worth listening to if you haven’t already!
Here is a bonus video which breaks down the improvised runs from the My Funny Valentine arrangement video.
Related Lessons
In this lesson we explore how you can navigate over the minor line cliché using bass lines, two-handed chords and left hand voicings.
We have voiced minor 251 progressions with our left hand and so now it’s time to spread the notes across 2 hands to get bigger chords with more impact!
Upper structure triads are complex sounding altered dominant chords. They will add texture and sophistication to your playing.
Practice Tips
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My Funny Valentine is a widely recorded jazz standard so there are lots of records to draw inspiration from.
- Check out the recordings below which are some of PianoGroove's favourites.
Hey around 6:30 you played a voicing for a cmM7! Why are you not playing the note ” b ”. Does it give more flavour playing a Bb instead of b please elaborate?
Hello Hayden good morning.. In the minute 6.50 se have a CmMaj7 chord..you are Just using 2 chord tones ..the B and the G.Can we say that me more chord notes there is on a voicing the more grounded it sounds and the more extensions and alterations the more exótic and out of place it sounds?I think we all know thats the case..but i really need your affirmation about this statement to fully integrate it in my brain for life.Have a good day
YAY. I started learning this song today! Stunning arrangement! Only question I have is on bar 28 where there is an F, A#, Bb and Eb …curious why B needed to be notated if it was just the enharmonic of A#? Big thanks in advance 🙂
Hi Tina 👋
That was a typo… it was supposed to be a B Natural.
I have fixed this now, thanks for spotting it.
The A# is the #9 of G7, and the B Natural is the major 3rd.
We cover these voicings in more detail in the upcoming course on “Altered Harmony”: pianogroove.com/jazz-piano-lessons/altered-harmony-upper-structure-triads/
Check out that course for more information.
Cheers,
Hayden
Thanks very much Hayden! just a follow up question 🙂 this means the B on the treble clef notes will be a natural as well ? and the A becomes a # too – then the chords on the treble clef would be a combo of
B natural, Eb and G
A sharp, Db and F ?
really dig this song but because I’m not familiar to the song very much – needed to ask to be sure 🙂 Thanks very much in advance!
or does the natural B and sharp A on bass (bar 28) applicable only on the bass clef notes and not treble notes? am suddenly needing to have a good recall! 🙂 Thanks in advance
Hi Tina 👋
The A# and B natural would just apply to the bottom staff.
So for the right hand part we are playing Ab and Bb in the melody.
You can also look at the right hand part as an Eb Major triad alternating with a Db major triad.
This is 2 upper structure triads over the G7. Eb triad over G7 gives us G7#5#9 and the Db triad over G7 gives us G7b9#11.
Check out our course on altered harmony where we explore these chords in more detail: pianogroove.com/jazz-piano-lessons/altered-harmony-upper-structure-triads/
Any other questions let me know.
Cheers,
Hayden