Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 3 | 10.7% |
| D7 | 3 | 10.7% |
| G7 | 3 | 10.7% |
| Cmaj7 | 2 | 7.1% |
| Gb7#11 | 2 | 7.1% |
| Em7b5 | 2 | 7.1% |
| A7b9 | 2 | 7.1% |
| Dm7 | 2 | 7.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Em7b5 -> A7b9 | Setup (Minor Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| G7#5 -> Cmaj7 | Resolution (Major) | 1 |
| A7b9 -> Dm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent use of tritone substitution, specifically Gb7#11 acting as a subV/IV to lead smoothly into Fmaj7.
- Minor ii-V motion (Em7b5 – A7b9) targeting the supertonic (Dm7), introducing harmonic tension typically found in minor keys.
- Secondary dominant cycles (Am7 – D7 – Dm7 – G7) create a strong pull through the circle of fifths toward the tonic.
- The “backdoor” dominant (Bb7) provides a sophisticated chromatic resolution to the tonic or tonic substitute (Em7).
Improvisation Focus Guide-tone voice leading to navigate the frequent shifts between diatonic C major and chromatic secondary dominants.
Difficulty Rating 3/5. While the key center remains stable, the player must master tritone substitutions and minor ii-V-I patterns to play effectively over the changes.
📚 Standard Available in:
The Real Vocal Book - Volume IV
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