Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Db7#11 | 5 | 11.1% |
| C7 | 4 | 8.9% |
| F7 | 4 | 8.9% |
| Cm7 | 4 | 8.9% |
| Abm7 | 3 | 6.7% |
| Db7 | 3 | 6.7% |
| Gb7#11 | 2 | 4.4% |
| Eb7 | 2 | 4.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Abm7 -> Db7 | Setup (Major Key) | 3 |
| Eb7 -> Abmaj7 | Resolution (Major) | 2 |
| G7#5 -> Cm7 | Resolution (Minor) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| Db7 -> Abm7 | Resolution (Minor) | 2 |
| Db7 -> Gbmaj7 | Resolution (Major) | 1 |
| C#m7 -> F#7 | Setup (Major Key) | 1 |
| F#7 -> Bmaj7 | Resolution (Major) | 1 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 1 |
| Dm7b5 -> G7 | Setup (Minor Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Extensive use of tritone substitutions, specifically Gb7#11 (subV/V) and Db7#11 (subV/I), creates the signature chromaticism and “blue” tension against the Ab major tonic.
- Sequential ii-V patterns (Abm7–Db7) facilitate a temporary modulation to Gb major (bVII), shifting the tonal center a whole step below the primary key.
- Frequent use of secondary dominants, such as G7#5 leading to Cm7 (V/iii), emphasizes mediant relationships and darkens the overall harmonic palette.
Improvisation Focus The Lydian Dominant scale (for #11 dominant chords) to navigate tritone substitutions and non-diatonic extensions.
Difficulty Rating 4/5: The rapid transitions between the Ab tonic and the distant Gb major key center, combined with numerous tritone substitutions, require advanced melodic navigation and voice leading.
📚 Standard Available in:
The Real Book - Volume III
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