Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| F7b9 | 8 | 16.3% |
| C7b9 | 5 | 10.2% |
| Fm | 4 | 8.2% |
| Db7 | 4 | 8.2% |
| Gb7 | 4 | 8.2% |
| Bbm | 3 | 6.1% |
| Bbm6/F | 3 | 6.1% |
| Gm7b5 | 2 | 4.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| F7b9 -> Bbm6/F | Resolution (Minor) | 3 |
| Bbm6/F -> F7b9 | Setup (Major Key) | 3 |
| C7b9 -> Fm | Resolution (Minor) | 2 |
| F7b9 -> Bbm7 | Resolution (Minor) | 2 |
| F7b9 -> Bbm | Resolution (Minor) | 1 |
| Bbm -> Eb7b9 | Setup (Major Key) | 1 |
| C7b13/E -> Fm | Resolution (Minor) | 1 |
| Dm7b5 -> G7b9 | Setup (Minor Key) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 1 |
| Bb7 -> Ebm7 | Resolution (Minor) | 1 |
| Ebm7 -> Ab7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression utilizes a strong i–iv–V foundation in F minor, frequently embellished by secondary dominants like F7b9 leading to the subdominant Bbm.
- A brief modulation to the relative major occurs through a ii-V-I sequence (Bbm7–Eb7–Ab6), providing a temporary tonal shift from the somber tonic.
- The use of inversions such as G7b9/F and C7b13/E facilitates a smooth, chromatic descending bass line, a hallmark of John Lewis’s neoclassical influence.
- The turnaround employs a “V of V” secondary dominant (Dm7b5–G7b9) to build tension before resolving through the primary dominant C7b9 back to Fm.
Improvisation Focus Mastering Minor ii-V-I vocabulary and the F Melodic Minor scale to navigate the dense, shifting dominant resolutions.
Difficulty Rating 4/5: The complex, asymmetrical phrase lengths and frequent secondary dominants require advanced melodic control and harmonic precision.
📚 Standard Available in:
The Real Book - Volume I
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