Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Am7 | 7 | 12.7% |
| D7 | 6 | 10.9% |
| Gmaj7 | 5 | 9.1% |
| A7 | 5 | 9.1% |
| Em7 | 5 | 9.1% |
| C7 | 4 | 7.3% |
| Bm7b5 | 4 | 7.3% |
| E7b9 | 4 | 7.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gmaj7 -> C7 | Setup (Major Key) | 4 |
| Bm7b5 -> E7b9 | Setup (Minor Key) | 4 |
| Am7 -> D7 | Setup (Major Key) | 4 |
| E7b9 -> Am7 | Resolution (Minor) | 2 |
| C#m7b5 -> F#7b9 | Setup (Minor Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 2 |
| B7b9 -> Em7 | Resolution (Minor) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| F#m7b5 -> B7 | Setup (Minor Key) | 1 |
| B7 -> Em7 | Resolution (Minor) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
| E7 -> Am7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression features a distinctive move from Gmaj7 to C7, utilizing a bVII7 “back-door” dominant resolution or a bluesy IV7 coloration.
- Frequent secondary ii-V sequences (Bm7b5–E7b9 to Am7; C#m7b5–F#7b9 to Bm7) create sophisticated tonicization of the ii and iii chords.
- The use of a descending bass line (D7 to D7/C to Bm7) provides smooth diatonic voice leading through the turnaround sections.
Improvisation Focus Harmonic minor and Altered scales are essential for navigating the frequent secondary dominants (E7b9, F#7b9) to resolve correctly into minor targets.
Difficulty Rating 3/5. The slow ballad tempo provides space for navigation, but the dense secondary dominants and chromatic shifts require precise knowledge of non-diatonic tension.
📚 Standard Available in:
The Real Book - Volume I
🛒 Buy on AmazonAs an Amazon Associate I earn from qualifying purchases. Check the Hal Leonard Jazz Song Finder to make sure that the standard is indeed in the book before buying it.