Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| A7 | 6 | 12.8% |
| D7 | 4 | 8.5% |
| Am7 | 4 | 8.5% |
| F#/G | 3 | 6.4% |
| G | 3 | 6.4% |
| Bb13 | 2 | 4.3% |
| Am9 | 2 | 4.3% |
| Gmaj9 | 2 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am9 -> D7 | Setup (Major Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| E7/B -> Am7 | Resolution (Minor) | 1 |
| C#m7 -> F#7 | Setup (Major Key) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
| E7 -> Am7 | Resolution (Minor) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Utilizes the V/V secondary dominant (A7) extensively to build tension before resolving through the ii-V (Am9–D7) back to the tonic G major.
- Employs chromatic side-slipping with the Bb13 to A7 movement, acting as a tritone substitute or chromatic approach chord to the dominant of the dominant.
- Features a standard subdominant modulation via a ii-V (Dm7–G7) into C6, followed by a “backdoor” dominant (F9) to facilitate a smooth return to the Gmaj7 tonic.
Improvisation Focus G Major Bebop Scale (G-A-B-C-D-D#-E-F#) to navigate the diatonic shifts and chromatic passing tones.
Difficulty Rating 2/5: The harmonic structure is largely diatonic with predictable secondary dominants, making it an ideal entry point for learning standard jazz turnarounds.
📚 Standard Available in:
The Real Book - Volume III
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