JAZZ THEORY MASTERCLASS

Just One of Those Things: The Sophisticated Sprint of the Porter Classic

' Built on a unique 64-bar form that modulates through various tonal centers, it perfectly captures Porter's unique ability to blend formal complexity with an urban, 'swinging' sentiment. The song's popularity stems from its incredible momentum and its rewarding, linear harmonic map. To describe Just One of Those Things is to describe the moment when the Broadway standard became a vehicle for serious musical exploration, challenging musicians to maintain melodic clarity at breakneck speeds. From a technical perspective, the song is a study in how to use 'secondary dominant' cycles and 'chromatic pivot' chords to create a sense of constant harmonic motion. It demonstrates how a simple, diatonic framework can be transformed into a dense and rewarding landscape through the use of sophisticated voice leading.

Just One of Those Things: Inside the Music

Every standard has a story, and Just One of Those Things (in key of F) is a masterclass in songwriting and a foundational canvas for improvisation. Let's explore its unique approach to High-speed 64-bar form and secondary dominant progressions..

A Musician's Perspective & Background

The song originated on Broadway, but its adoption by the jazz community in the 1940s is what defined its legacy. Historically, it rappresenta the definitive shift toward 'technical excellence' and 'harmonic density' that characterized the bebop era. The song's association with the 'Uptempo Swing' movement in the 1950s is also significant, as its driving pulse and sophisticated harmony perfectly suited the aesthetic of musicians like Bud Powell and Dizzy Gillespie. Today, Just One of Those Things is a mandatory part of any jazz education, serving as a reminder of the power of the Great American Songbook and the genius of the early modern jazz pioneers. Historically, the tune also stands as a testament to the enduring influence of the 64-bar form. Its combination of a driving swing pulse and a highly lyrical melody provided a template for any number of later developments in modern jazz.

Interactive Soloing Laboratory

Use the controls below to visualize key harmonic moments on the fretboard and circle of fifths.

Harmonic Deep-Dive

The harmonic foundation of Just One of Those Things is an expansive 64-bar form, typically played in the key of F Major. The progression is characterized by a series of 'moving' ii-V patterns (Gm7 - C7, Am7 - D7) that provide a sense of forward motion and harmonic variety. The progression utilizes various chromatic shifts and substitute dominants (like Db7 or Gb7) to enhance the harmonic color and maintain interest throughout the form. The turnarounds are textbook examples of jazz voice leading, utilizing smooth pivots to return to the tonic F. ' It demonstrates the power of the extended form to create a larger narrative and the effectiveness of using simple diatonic regions as a platform for complex harmonic exploration.

Gm7 - C 7 (ii-V)

Intervals: root, b3, 5, b7

Am7 - D 7 (ii-V of vi)

Intervals: root, b3, 5, b7

Abdim7 (chromatic passing)

Intervals: root, b3, b5, bb7

Melodic Ideas to Try

The melody of Just One of Those Things is famously lyrical, singable, and perfectly reflective of its 'sophisticated' urban character. It is built around a series of short, descending phrases that trace the underlying changes with pinpoint accuracy. In the F Major sections, the melody makes frequent use of the 3rd and the 5th, giving it a stable and 'grounded' quality that is characteristic of the great American standards. The phrases are balanced and rhythmic, with a sense of 'swing' that is built into the notes themselves. For the interpolator or soloist, the melody provides a wealth of target notes. By following the melody's lead and focusing on the guide tones of the ii-V cycles, a soloist can create a statement that is both personal and deeply rooted in the song's identity.

The Groove & The Feel

The rhythmic foundation of Just One of Those Things is traditionally a high-speed, 'burning' swing pulse. It is the definitive 'uptempo' tune, typically played at tempos exceeding 240 BPM. A clear, driving walking bass line and a steady, 'shivering' ride cymbal pattern are the heart of this pulse. In a classic bebop setting, the interaction between the soloist and the accompaniment is tight and highly interactive, with the drummer providing a constant stream of polyrhythmic 'kicks' and bombs to match the soloist's energy. Maintaining this feel throughout the duration of a long performance is one of the biggest challenges for a jazz ensemble. It requires a collective commitment to rhythmic 'tightness' and a deep understanding of the song's complex structural nuances.

Improvisation Strategies

Soloing over Just One of Those Things requires a strategy that priorities rhythmic precision and melodic clarity. The most effective approach is to focus on 'playing the changes'—that is, using the guide tones of the ii-V progressions to create lyrical and linear lines. In the F Major sections, use the G Dorian and C Mixolydian scales to outline the functional cadences. Focus on building speed and fluidity through the cycles. Finally, use rhythmic density to build your narrative. Start with clear, spaced-out ideas and gradually increase the number of notes and the complexity of your subdivisions until you reach a high-speed climax.

Summary & Takeaways

The primary takeaway from Just One of Those Things is the mastery of high-speed swing improvisation and the use of the Great American Songbook as a vehicle for jazz exploration. After learning this tune, you have a deep, internal understanding of one of the most important structures in all of jazz and a new set of tools for navigating functional harmonic movement. ' It shows how much power can be generated from simple, honest phrases if they are treated with rhythmic variety and melodic daring. This lesson in 'focus' is invaluable for any musician, as it helps you develop the artistic courage needed to build long, cohesive solos from simple starting points. Finally, the song serves as a reminder of the historical importance of the Broadway songwriters and the genius of Cole Porter. By learning this piece, you connect with the peak of the 1940s 'bebop' era and the beginning of the modern jazz movement.

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