Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 7 | 17.1% |
| C7 | 7 | 17.1% |
| Fmaj7 | 5 | 12.2% |
| Ab07 | 5 | 12.2% |
| Abmaj7 | 5 | 12.2% |
| Bbm7 | 3 | 7.3% |
| Eb7 | 3 | 7.3% |
| Fmaj7/A | 1 | 2.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 6 |
| Bbm7 -> Eb7 | Setup (Major Key) | 3 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| Eb7 -> Abmaj7 | Resolution (Major) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7sus | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Employs an
#io7(Ab°7) passing chord to bridge theImaj7(Fmaj7) andiim7(Gm7), creating a smooth chromatic ascent in the bass. - Features a pivot modulation to the bIII tonal center (Ab major) via a
iim7-V7-Imaj7(Bbm7-Eb7-Abmaj7) sequence. - Utilizes modal interchange by shifting between the primary tonic F major and the key of Ab major, the relative major of the parallel minor.
Improvisation Focus Navigating the tonal shift between the F Major and Ab Major scales while targeting the common tones between the chromatic diminished chord and the tonic.
Difficulty Rating 3/5: The non-diatonic modulation to the bIII key and the frequent use of diminished passing chords require a higher level of harmonic awareness than standard diatonic progressions.
📚 Standard Available in:
The Real Book - Volume III
🛒 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.