Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Ab07 | 5 | 13.5% |
| D7/A | 4 | 10.8% |
| Fmaj7 | 4 | 10.8% |
| Em7 | 3 | 8.1% |
| Dm7 | 3 | 8.1% |
| Gm7 | 2 | 5.4% |
| C7 | 2 | 5.4% |
| F07 | 2 | 5.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 2 |
| Em7 -> A7b13 | Setup (Major Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
| Fm7 -> Bb7#11 | Setup (Major Key) | 1 |
| A7b13 -> Dm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The opening D7/A to Ab°7 creates a chromatic bass descent (A-Ab-G) leading into the ii-V (Gm7-C7) cadence.
- Integration of the F°7 (I°7) acts as a common-tone diminished chord, providing tension before resolving back to the Fmaj7 tonic.
- The Fm7 to Bb7 sequence functions as a “back-door” ii-V (iv-bVII), introducing parallel minor colors that resolve toward the iii or I chord.
- Frequent use of secondary dominants, such as A7b13 (V/vi), facilitates sophisticated transitions between the major tonic and relative minor sections.
Improvisation Focus Targeting chromatic guide-tone resolutions, specifically the descending movement between the 3rds and 7ths of the passing diminished chords.
Difficulty Rating 3/5: While the Bossa Nova tempo is accessible, the constant non-diatonic substitutions and chromatic voice leading require an intermediate understanding of harmonic substitution.