Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 8 | 18.2% |
| C7 | 8 | 18.2% |
| Dm7 | 5 | 11.4% |
| F6 | 4 | 9.1% |
| Am7 | 3 | 6.8% |
| Cm7 | 2 | 4.5% |
| F7 | 2 | 4.5% |
| Bbmaj7 | 2 | 4.5% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 7 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| F7 -> Bbmaj7 | Resolution (Major) | 2 |
| Bbmaj7 -> Eb7 | Setup (Major Key) | 2 |
| Em7b5 -> A7#9 | Setup (Minor Key) | 1 |
| A7#9 -> Dm7 | Resolution (Minor) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent use of I-vi-ii-V (F6-Dm7-Gm7-C7) cycles establishes a consistent diatonic framework in F major.
- A ii-V cell (Cm7-F7) provides a clear tonicization of the subdominant (Bbmaj7) during the transition to the bridge.
- Chromatic voice leading is achieved through the descending diminished connector (Am7-Ab°7-Gm7), a common substitute for the III-VI-ii-V turnaround.
- The inclusion of the bVII7 (Eb7) functions as a backdoor dominant, adding non-diatonic color before returning to the tonic F6.
Improvisation Focus F Major Bebop scale (incorporating the chromatic passing tone between the 5th and 6th) to navigate the frequent ii-V-I turnarounds.
Difficulty Rating 2/5: The progression’s reliance on standard diatonic patterns and predictable modulations makes it highly accessible for intermediate improvisers.