Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 5 | 16.1% |
| Abm6 | 4 | 12.9% |
| C7 | 4 | 12.9% |
| F7 | 4 | 12.9% |
| Eb6 | 3 | 9.7% |
| Bb7 | 3 | 9.7% |
| G7 | 2 | 6.5% |
| C7b9 | 2 | 6.5% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| C7b9 -> Fm7 | Resolution (Minor) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| C7 -> Fm7 | Resolution (Minor) | 2 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
๐ผ Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Extensive use of secondary dominants ($G7$, $C7$, $F7$) creates a chain of tonicizations, effectively moving the harmony through the circle of fifths toward the $ii-V$ cadences.
- The $Abm6$ functions as a minor subdominant ($iv$), providing a poignant modal interchange that contrasts with the $Eb$ major tonic and adds sentimental tension.
- Frequent use of $b9$ and $b13$ alterations on dominant chords ($C7b9$, $G7b13$) bridges the gap between the $Eb$ major and $C$ minor tonal centers.
Improvisation Focus Chord Tone Soloing is the most effective approach to clearly outline the rapid harmonic shifts and chromatic alterations present in the secondary dominants.
Difficulty Rating 3: The harmonic structure is dense with secondary dominants and modal interchange, requiring the improviser to navigate beyond simple diatonic scales while maintaining a ballad feel.
๐ Standard Available in:
The Real Book - Volume III
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