Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cm7 | 4 | 12.1% |
| Abmaj7 | 3 | 9.1% |
| Fm7 | 3 | 9.1% |
| Dbmaj7 | 2 | 6.1% |
| Fm7/Eb | 2 | 6.1% |
| Dm7b5 | 2 | 6.1% |
| G7#5#9 | 2 | 6.1% |
| Cm7/Bb | 2 | 6.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7b5 -> G7#5#9 | Setup (Minor Key) | 2 |
| G7#5#9 -> Cm7 | Resolution (Minor) | 2 |
| Bbm7 -> Eb7sus | Setup (Major Key) | 1 |
| Gm7b5 -> C7#5#9 | Setup (Minor Key) | 1 |
| C7#5#9 -> Fm7 | Resolution (Minor) | 1 |
| C7b9#5 -> Fm7 | Resolution (Minor) | 1 |
| Fm7 -> Bb7#5 | Setup (Major Key) | 1 |
| Bb7#5 -> Ebmaj7 | Resolution (Major) | 1 |
| G7b9#5 -> Cm7 | Resolution (Minor) | 1 |
| Am7b5 -> D7#5#9 | Setup (Minor Key) | 1 |
| D7#5#9 -> Gm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The composition utilizes a systematic sequence of ii-V-I progressions that modulate downward through the circle of fifths, shifting key centers every four bars.
- It begins with a ii-V-I in Ab major (Bbm7–Eb7–Abmaj7) before shifting to Fm and then Cm, utilizing the bII (Dbmaj7) as a pivot or Neapolitan chord.
- Frequent use of altered dominants (C7#5#9, G7#5#9) provides high-tension resolutions into minor tonalities, characteristic of Evans’ post-bop vocabulary.
- The harmonic rhythm is dense, requiring precise navigation of moving inner voices and chromatic bass descents (Fm7–Fm7/Eb–Dm7b5).
Improvisation Focus Navigating rapid tonal shifts by targeting 3rds and 7ths within the localized ii-V-I cycles.
Difficulty Rating 4/5: The constant modulation through multiple keys via the circle of fifths demands advanced harmonic fluency and quick mental transposition.