Afternoon in Paris: The Bright Harmonic Shifts of John Lewis
Afternoon in Paris is a delightful and sophisticated jazz standard composed by John Lewis, the musical director of the Modern Jazz Quartet. Composed in 1949, the song reflects the elegance and intellectual rigor of the cool jazz movement.
Afternoon in Paris: Inside the Music
Every standard has a story, and Afternoon in Paris (in key of C) is a masterclass in songwriting and a foundational canvas for improvisation. Let's explore its unique approach to Major ii-V-i's and side-slipping dominant resolutions..
A Musician's Perspective & Background
J. Johnson.
Interactive Soloing Laboratory
Use the controls below to visualize key harmonic moments on the fretboard and circle of fifths.
Harmonic Deep-Dive
The harmonic hallmark of Afternoon in Paris is its use of sequential ii-V progressions that move in whole steps. The opening bars move from Cmaj7 to Cm7 - F7 to Bbmaj7, then Bbm7 - Eb7 to Abmaj7.
Cm7 - F7 (ii-V of Bb)
Intervals: root, b3, 5, b7
Bbmaj7 (bVII)
Intervals: root, 3, 5, 7
Bbm7 - Eb7 (ii-V of Ab)
Intervals: root, b3, 5, b7
Abmaj7 (bVI)
Intervals: root, 3, 5, 7
Melodic Ideas to Try
The melody is famously catchy and symmetrical, built on a series of rising and falling motifs that follow the underlying chord changes. It has a 'sculpted' quality, where every note feels essential and perfectly placed.
The Groove & The Feel
Typically played at a medium swing tempo, Afternoon in Paris requires a light, bouncy feel. The rhythm section should focus on providing a clear, 'uncluttered' pulse that allows the melody to sing.
Improvisation Strategies
When soloing, focus on the 'transitional' chords (the ii-V's) that bridge the major key centers. Using the Mixolydian scale over the dominant chords and the Major scale over the resolutions is the standard approach.
Summary & Takeaways
The primary takeaway is the mastery of sequential modulation through ii-V-I cadences. It teaches you how to maintain harmonic continuity while moving through multiple key centers.
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