It Could Happen To You

Chet Baker Solo

Transcription and Analysis

Zachary Santella
Ear Training 1

Chet Baker It Could Happen To You Harmonic Analysis

Zachary Santella
(Bars 1-3)
The first phrase opens with a common enclosure, which can be understood as either
based solely on Gmaj7 (5-6-7-9-7) or as implying the V (1-2-3-5-3 based on D7).
Regardless, it leads your ear to the root of Gmaj7, then continues to outline the chord
by sounding the 3rd (B) and 5th (D). Where your ear might expect the major 7 (F#) to
follow, Chet sings a minor 7 (F) instead, because by this point the harmony has shifted.
This has the effect of reinforcing the Gmaj7 sound, while simultaneously weaving
elegantly through the changes. The minor 7 is in fact the b5 of Bmin(b5). He then
moves (diatonically) a half step away (from F to E) but quickly returns to the F, which is
now the b9 of E7(b9). He repeats this half-step motif, hitting the E once more (which is
now the root), and finishes the phrase a minor 3rd below, landing on the 3rd (C) of Am7.
(Pick up of bar 3 and 4)
The next phrase begins with another C (still in relation to Am), but moves up a half step
(Db) to become the root of Dbm7(b5), and outlines the chord by hitting the b3 (E) and
b5 (G). It then moves a half-step down to Gb, which becomes the root of Gb7(b9), then
hits the E again, now the b7 of the chord. The phrase finishes with a D, signalling a
return to home base, Gmaj7 (as its 5).
*Ive analyzed this phrase as a minor ii-V, but it could also be understood as outlining a
B diminished
(Bar 5 into 6)
Although sung in the same breath as the line before, the next portion sounds to me like
a separate idea, so Ill deal with it as a unique phrase. Chet sings a syncopated motif
that goes from the 5th (D) up to to the root (G) of Gmaj7 and back, which happens
twice. The third time, over Cmaj7 (the notes now function as the 5th and 9th), he
embellishes it with an E on the way up, (major 3rd of C). After which he does a cheeky
little chromatic half-step from the D (9) down to Db (b9) that creates some movement,
and brings us back to D (9th). He finishes the phrase by leading us diatonically to B, the
root of Bm7(b5).
(Bars 6 and 7)
Here, Chet sings a great minor ii-V phrase that outlines the Bm7(b5) and E7. Starting on
the root of Bm7(b5), the phrase moves up a semitone (C) and then walks diatonically
down (B then A) to hit the 3rd of E7 (G#). From there, it outlines a G# diminished 7
arpeggio (which functions as the 3-5-7-b9 of E7), then lands on the root (E).

(Bars 8-10)
Damn. Another super tasty ii-V line, this time major (over Am7 and D7). Starting on the
and of 1, Chet sings an Em triad (which functions as the 5-7-9 of Am) which encloses
the root of A and from there walks down diatonically all the way to D, which becomes
the root of D7. Chet approaches the 7 (C) with a chromatic passing tone (Db), and from
there uses a common way of getting from 5 to 1, hitting the root of the 5 chord (D7) the
b9 (Db), #9 (F), and back, then walking diatonically down to B (the 3rd of Gmaj7).
(Bars 11-13)
Here Chet stays on the B (which is now the b5 of F#m7(b5)), hitting the F below (5 of
B7), then approaching the Em7 with the 11 (A) to the 3rd (G), continuing to outline the
chord with the ascending 5th (B) and 7th (D). Finishing the phrase with the 9 (which is
now the 6 of Am7), up to the 7 (G), then down to 5 (E).
(Bars 14-16)
The final phrase begins by outlining the Am7 with only 4 notes. It starts on the 9 (B), hits
the 11 (D), then back, moves up to the 5 diatonically (C-D-E), then repeats the initial 9
to 11 motif, which lands on C (now the 7 of D7). From there Chet approaches the 5th
by jumping down the the 11 (C), then enclosing the 5 by jumping up a diatonic 3rd to B,
which then brings us finally to A (5 of D7). Finishing by singing a descending D major
triad, which hits the 3rd of D7 (F#), then leads to the root of G, which is the root of
Gmaj7, and the end of a wicked solo.