Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| F7 | 4 | 11.8% |
| Bb6 | 4 | 11.8% |
| D7 | 4 | 11.8% |
| Gm7 | 4 | 11.8% |
| Fmaj7 | 3 | 8.8% |
| Cm7 | 3 | 8.8% |
| C7 | 3 | 8.8% |
| B07 | 2 | 5.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7 | Setup (Major Key) | 3 |
| D7 -> Gm7 | Resolution (Minor) | 3 |
| Gm7 -> C7 | Setup (Major Key) | 3 |
| Am7 -> D7 | Setup (Major Key) | 2 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Utilizes a tonicized subdominant via a [ii-V] of IV (Cm7 – F7 to Bb6), shifting tonal weight briefly away from the tonic.
- Features a #iv diminished chord (B°7) acting as a chromatic passing tone to the I chord in second inversion (Fmaj7/C).
- Employs the “backdoor” bVII7 (Eb7) to provide a sophisticated chromatic resolution back toward the tonic or the iii chord (Am7).
- Relies on standard iii-VI-ii-V cycles (Am7–D7–Gm7–C7) to navigate the turnaround and maintain cyclical momentum.
Improvisation Focus Voice leading via guide tones (3rds and 7ths) to highlight the frequent secondary dominant resolutions.
Difficulty Rating 3/5: While the melody is straightforward, the performer must navigate several rapid secondary dominants and non-diatonic substitutions typical of Richard Rodgers’ style.
📚 Standard Available in:
The Real Book - Volume I
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