Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 3 | 8.3% |
| Bbm7 | 3 | 8.3% |
| Eb7 | 3 | 8.3% |
| Abmaj7 | 3 | 8.3% |
| Dbmaj7 | 2 | 5.6% |
| Cmaj7 | 2 | 5.6% |
| Cm7 | 2 | 5.6% |
| Gmaj7#11 | 2 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Eb7 -> Abmaj7 | Resolution (Major) | 3 |
| Bbm7 -> Eb7 | Setup (Major Key) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
| D7 -> Gmaj7#11 | Resolution (Major) | 1 |
| Am7 -> D7b9 | Setup (Major Key) | 1 |
| D7b9 -> Gmaj7 | Resolution (Major) | 1 |
| F#m7 -> B7#9 | Setup (Major Key) | 1 |
| B7#9 -> Emaj7 | Resolution (Major) | 1 |
| C7#5 -> Fm7 | Resolution (Minor) | 1 |
| Dbmaj7 -> Gb7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Based on the “All the Things You Are” progression, the structure follows a relentless cycle-of-fourths movement (Fm7-Bbm7-Eb7-Abmaj7-Dbmaj7).
- The harmony features rapid modulations to distant tonal centers, including a pivot to C major via G7 and a subsequent shift to G major (Am7-D7).
- Use of Lydian colors is prominent, specifically the Gmaj7#11, which creates a bright, non-diatonic tension against the initial F minor tonality.
- The progression utilizes secondary dominants and ii-V patterns to bridge disparate key centers, demanding smooth voice leading over chromatic shifts.
Improvisation Focus Continuous linear eighth-note lines using the “Tristano School” approach to chromatic displacement and triadic substitutions.
Difficulty Rating 4/5 - Navigating the constant key changes and the sophisticated rhythmic displacements typical of Tristano’s style requires advanced harmonic fluency.
📚 Standard Available in:
The Real Book - Volume II
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