Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm7 | 6 | 12.8% |
| G7 | 5 | 10.6% |
| Cmaj7 | 5 | 10.6% |
| Ebm7 | 4 | 8.5% |
| Ab7 | 4 | 8.5% |
| Fmaj7 | 3 | 6.4% |
| C6 | 3 | 6.4% |
| E7#5 | 2 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 4 |
| Ebm7 -> Ab7 | Setup (Major Key) | 4 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| Em7 -> A7 | Setup (Major Key) | 2 |
| E7#5 -> Amaj7 | Resolution (Major) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 1 |
| Cmaj7 -> G7 | Setup (Major Key) | 1 |
| D7 -> Am7b5 | Resolution (Minor) | 1 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| Dm7 -> G7sus | Setup (Major Key) | 1 |
| G7sus -> Cmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression opens with a III7 (E7#5) resolving to VImaj7 (Amaj7), creating a lush, non-diatonic lift that momentarily pulls away from the C major tonic.
- Utilizes a “backdoor” cadence (IVmaj7 to bVII9) via Fmaj7 to Bb9, necessitating a shift toward the C melodic minor or Bb Lydian dominant sound.
- Features a chromatic “side-slipping” ii-V chain (Em7–A7 to Ebm7–Ab7 to Dm7–G7), which provides smooth, descending linear motion back to the home key.
- Frequent use of altered dominant tensions (#5) provides the sophisticated, “dreamy” harmonic color characteristic of Porter’s writing.
Improvisation Focus Navigating chromatic ii-V sequences and utilizing the Lydian Dominant scale over the bVII chords.
Difficulty Rating 3/5: While the tempo is usually moderate, the frequent side-slipping ii-V cycles and non-diatonic major resolutions require precise harmonic navigation and quick mental shifting.
đź“š Standard Available in:
The Real Book - Volume III
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