Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 8 | 11.6% |
| Gm7 | 8 | 11.6% |
| G7#11 | 6 | 8.7% |
| C7 | 5 | 7.2% |
| G7 | 5 | 7.2% |
| D7b9 | 4 | 5.8% |
| Am7b5 | 3 | 4.3% |
| Amaj7 | 3 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 4 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 3 |
| D7b9 -> Gm7 | Resolution (Minor) | 3 |
| Bm7 -> E7 | Setup (Major Key) | 3 |
| E7 -> Amaj7 | Resolution (Major) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| E7#9 -> Amaj7 | Resolution (Major) | 1 |
| C7b9 -> Fmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The move from Fmaj7 to G7#11 (II7) utilizes the Lydian Dominant sound, establishing the characteristic “slightly out of tune” Bossa Nova aesthetic.
- Use of secondary dominants (A7b9, D7b9) creates frequent temporary resolutions to Gm7 and Dm, weaving between F Major and its relative minor.
- The chromatic shift to Gbmaj7 (bIImaj7) functions as a sophisticated tritone-adjacent neighbor group, delaying the return to the tonic Fmaj7.
- Extended ii-V sequences and altered dominants (b9, #11) require precise navigation of voice-leading through rapidly shifting tonal centers.
Improvisation Focus The Lydian Dominant scale (specifically over the II7 chord) is essential for capturing the melody’s unique character.
Difficulty Rating 4/5: The long form, frequent modulations, and non-functional dominant substitutions require an advanced understanding of guide tones and modal switching.
📚 Standard Available in:
The Real Book - Volume I
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