Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 5 | 12.2% |
| C7 | 5 | 12.2% |
| F6 | 4 | 9.8% |
| Bbmaj7 | 4 | 9.8% |
| Fmaj7 | 2 | 4.9% |
| F#07 | 2 | 4.9% |
| C7b9 | 2 | 4.9% |
| Am7 | 2 | 4.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 3 |
| Gm7 -> C7b9 | Setup (Major Key) | 2 |
| Am7 -> D7#9 | Setup (Major Key) | 2 |
| D7#9 -> Gm7 | Resolution (Minor) | 2 |
| F7/A -> Bbmaj7 | Resolution (Major) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Eb7 -> Abmaj7 | Resolution (Major) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The use of #I°7 (F#°7) functions as a chromatic connector between the tonic and the iim7 chord, a staple of Niehaus’s bebop-influenced writing.
- Cyclic iii-VI-ii-V turnarounds (Am7-D7#9-Gm7-C7) introduce altered dominant tensions, necessitating a shift from diatonic F major to G melodic minor over the D7#9.
- A subdominant chromatic climb (IV - #IV°7 - I/V) creates harmonic momentum through the Bbmaj7 to B°7 transition, leading back to the tonic.
- Secondary ii-V sequences (Cm7-F7) are utilized to tonicize the IV chord, shifting the tonal center briefly toward Bb major.
Improvisation Focus The F Major Bebop Scale (F, G, A, Bb, C, C#, D, E) is the primary tool for navigating the diatonic movements and chromatic passing tones.
Difficulty Rating 3/5. The tune follows functional jazz logic but requires fluid navigation of frequent secondary dominants and chromatic passing diminished chords at typically brisk tempos.
📚 Standard Available in:
The Real Book - Volume II
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