Composition
"Angel Eyes" is in the form AABA. The first and the second A sections are almost identical, with only a few minor variations. II - V - I minor and major progressions are employed frequently throughout the piece. The A sections are in the C minor scale. It starts with a C minor, Ab7(#11) and G7 progression. Over the Ab7(#11) there is an F# in the melody (the minor seventh to the Ab7(#11) chord). That F# is a sharp fourth in relation to the C which is the tonic of the song. This interval is used throughout the song. Another tritone is the diminished fifth over the Dm7_5 chord but it fits so well into the harmonic context of the c minor key that it is hardly recognized as a dissonant interval. The Bridge shifts to A-flat major scale using a ii-V-I- progression, and then uses the same progression transposed down a semitone, therefore going to G major scale briefly. After a quick pass through c#min7 and F#7 (hinting at a B major tonality) it goes back to the original key of c minor using again a ii-V-I progression.
Because of its colourful harmonic changes, "Angel Eyes" is a very popular jazz standard which has inspired many original interpretations. Several performers have recorded different versions of the song, including Bill Henderson, Chet Baker, Don Ellis, Kenny Burrell, Pat Metheny, Frank Sinatra, Shirley Bassey, Sonny Stitt, Neil Sedaka, Ella Fitzgerald, Hank Crawford, Earl Grant, Jim Hall, Wayne Shorter, The Modern Jazz Quartet, Dave Brubeck, Paul Desmond, Charles Neville, Oscar Peterson and Duke Ellington. In 1971, when Sinatra held what he intended to be his farewell concert (and the end to his show business career), he closed with "Angel Eyes." His retirement lasted only two years.
Read more about this topic: Angel Eyes (1946 Song)
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