Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm7 | 13 | 24.5% |
| G7 | 9 | 17.0% |
| A7 | 6 | 11.3% |
| Em7 | 4 | 7.5% |
| Cmaj7 | 3 | 5.7% |
| A7#5 | 2 | 3.8% |
| D7 | 2 | 3.8% |
| Ab7 | 2 | 3.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 8 |
| Em7 -> A7 | Setup (Major Key) | 4 |
| A7 -> Dm7 | Resolution (Minor) | 4 |
| G7 -> Dm7 | Resolution (Minor) | 3 |
| Dm7 -> A7#5 | Setup (Major Key) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| A7#5 -> Dm7 | Resolution (Minor) | 1 |
| G7 -> Cmaj7/E | Resolution (Major) | 1 |
| A7b9 -> Dm7 | Resolution (Minor) | 1 |
| Bm7b5 -> E7b9 | Setup (Minor Key) | 1 |
| E7b9 -> Am7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Features a diatonic $I-ii-iii$ ascent ($Cmaj7-Dm7-Em7$) followed by a secondary dominant $VI7$ ($A7$) to tonicize the $ii$ chord ($Dm7$).
- Utilizes a chromatic passing diminished chord ($Eb^{\circ}7$) to bridge the $iii$ and $ii$ chords, facilitating smooth linear voice leading.
- Relies on repetitive $ii-V$ cells ($Dm7-G7$) to establish strong functional momentum and reinforce the tonal center.
- Includes a $II7$ ($D7$) secondary dominant ($V/V$), which introduces a temporary “bright” Lydian quality by targeting the dominant $G7$.
Improvisation Focus C Major (Ionian) Scale, with a transition to A Altered or Mixolydian b13 over the $A7$ chord to highlight the resolution to $Dm7$.
Difficulty Rating 2/5; the progression follows standard functional harmony and common circle-of-fifths movements found in most swing-era standards.
📚 Standard Available in:
The Real Blues Book
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