Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Eb7 | 6 | 14.0% |
| Dm6 | 6 | 14.0% |
| Em7b5 | 6 | 14.0% |
| A7b9 | 4 | 9.3% |
| Gm7 | 3 | 7.0% |
| Fmaj7 | 3 | 7.0% |
| Dm | 2 | 4.7% |
| Eb7#11 | 2 | 4.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Em7b5 -> A7b9 | Setup (Minor Key) | 4 |
| A7b9 -> Dm | Resolution (Minor) | 2 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 1 |
| C7b9 -> Fmaj7 | Resolution (Major) | 1 |
| Dm7 -> G7#11 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The A section utilizes a persistent $bII7$ (Eb7) to $Im6$ (Dm6) movement, functioning as a tritone substitution for the primary dominant (A7).
- The bridge transitions through rapid $ii-V-I$ sequences, modulating from G minor ($Am7b5 - D7b9 - Gm7$) to F major ($Gm7b5 - C7b9 - Fmaj7$).
- The “interlude” or “Famous Break” features a chromatic $ii-V$ progression that sets up the solo section, requiring precise rhythmic and harmonic timing.
- Frequent use of half-diminished and altered dominant chords ($A7b9$, $D7b9$) emphasizes a dark, minor-key aesthetic typical of Afro-Cuban jazz influences.
Improvisation Focus Mastery of the D Harmonic Minor scale and the Lydian Dominant scale over the $bII7$ (Eb7) chord.
Difficulty Rating 4/5: The non-standard tritone-based vamp, rapid bridge modulations, and the technical demands of the “Famous Break” require advanced harmonic navigation and rhythmic maturity.
📚 Standard Available in:
The Real Book - Volume I
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