Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Am7 | 7 | 15.2% |
| Em7 | 6 | 13.0% |
| Bm7 | 5 | 10.9% |
| D7 | 3 | 6.5% |
| Gsus | 2 | 4.3% |
| G | 2 | 4.3% |
| Gmaj7 | 2 | 4.3% |
| F#m7b5 | 2 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 3 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 2 |
| B7b9 -> Em7 | Resolution (Minor) | 2 |
| Bm7 -> E7b9 | Setup (Major Key) | 2 |
| D07/A -> Am7 | Resolution (Minor) | 2 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| E7b13 -> Am7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent minor ii-V-i sequences (F#m7b5–B7b9–Em7) target the relative minor, providing the “operatic” tension characteristic of Brodszky’s style.
- Chromatic linear motion is reinforced by the #i°7 passing chord (Am7–Bb°7–Bm7), which smoothly bridges the supertonic and mediant.
- The inclusion of C#m7b5 to C7b5 creates a sophisticated chromatic approach to the iii chord (Bm7), utilizing tritone substitution logic.
- Secondary dominants, specifically A7 (II7), frequently appear to tonicize the dominant before softening into a standard ii-V-I turnaround.
Improvisation Focus Mastering the transition between G Major diatonicism and E Harmonic Minor to navigate the recurring minor ii-V-i resolutions.
Difficulty Rating 3/5: The tune remains largely in G major but requires the ability to navigate frequent secondary dominants and chromatic passing chords effectively.
đź“š Standard Available in:
The Real Book - Volume V
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