Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 8 | 18.6% |
| Bb7 | 8 | 18.6% |
| Ebmaj7 | 4 | 9.3% |
| C7 | 4 | 9.3% |
| Gm7 | 3 | 7.0% |
| Ebmaj7/D | 2 | 4.7% |
| Cm7 | 2 | 4.7% |
| Ab7 | 2 | 4.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 8 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 4 |
| C7 -> Fm7 | Resolution (Minor) | 4 |
| Gm7 -> C7 | Setup (Major Key) | 3 |
| Ebmaj7 -> Ab7 | Setup (Major Key) | 2 |
| Am7b5 -> D7b13 | Setup (Minor Key) | 2 |
| D7b13 -> Gmaj7 | Resolution (Major) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
| Gmaj7 -> C7 | Setup (Major Key) | 1 |
| Bb7 -> Fm7 | Resolution (Minor) | 1 |
| D7b13 -> Gm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Standard ii-V-I cycles in Eb Major establish a stable diatonic framework for the primary theme.
- A modulation to the III (G Major) is executed via a minor ii-V (Am7b5–D7b13), shifting the tonal center away from the home key.
- Secondary dominants (C7) and dominant substitutions (Ab7) provide chromatic tension that resolves to the ii chord (Fm7).
- Stepwise descending bass motion (Eb–D–C) facilitates smooth voice leading between the tonic and the submediant.
Improvisation Focus Managing the transition between Eb Major and the G Major modulation using chord-tone targeting.
Difficulty Rating 3/5: The progression is largely diatonic but requires precise navigation of the temporary modulation to a remote key center.
📚 Standard Available in:
The Real Book - Volume V
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