Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Am7 | 5 | 7.0% |
| Gm7 | 5 | 7.0% |
| Bb7 | 4 | 5.6% |
| Bbm7 | 3 | 4.2% |
| Eb7 | 3 | 4.2% |
| D7 | 3 | 4.2% |
| C7 | 3 | 4.2% |
| Bmaj7 | 3 | 4.2% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bbm7 -> Eb7 | Setup (Major Key) | 3 |
| Am7 -> D7 | Setup (Major Key) | 3 |
| Am7 -> D7b9 | Setup (Major Key) | 2 |
| D7b9 -> Gm7 | Resolution (Minor) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| D7 -> Gm7 | Resolution (Minor) | 2 |
| F7b9 -> Bbm | Resolution (Minor) | 1 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 1 |
| Em7 -> A7b9 | Setup (Major Key) | 1 |
| C#m7 -> F#7b9 | Setup (Major Key) | 1 |
| F#7b9 -> Bmaj7 | Resolution (Major) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression features a dense chromatic dominant descent (B7-Bb7-A7-Ab7) that functions as a series of interlocking tritone substitutions and secondary dominants.
- The use of #IVm7b5 (Bm7b5) moving to IV7 (Bb7) provides a sophisticated subdominant variation, common in post-bop but treated here with Corea’s modern rhythmic displacement.
- Integration of “backdoor” ii-V patterns (Bbm7-Eb7) serves to navigate back to the tonic F major from the subdominant area using non-diatonic modal interchange.
Improvisation Focus Continuous voice leading through descending dominant cycles.
Difficulty Rating 4/5: The combination of rapid-fire harmonic shifts and the typical high-speed “Corea” tempo demands advanced technical facility and precise navigation of non-diatonic changes.
📚 Standard Available in:
The Real Book - Volume III
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