Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cm7 | 7 | 21.9% |
| F7 | 5 | 15.6% |
| Bbmaj7 | 4 | 12.5% |
| Ebmaj7 | 3 | 9.4% |
| Db7 | 3 | 9.4% |
| Dm7 | 2 | 6.2% |
| G7b9 | 2 | 6.2% |
| Ebm7 | 1 | 3.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7 | Setup (Major Key) | 5 |
| F7 -> Bbmaj7 | Resolution (Major) | 3 |
| Cm7 -> G7b9 | Setup (Major Key) | 2 |
| G7b9 -> Cm7 | Resolution (Minor) | 2 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| F7 -> Cm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression utilizes a chromatic descending turnaround (Dm7 - Db7 - Cm7), where Db7 acts as a tritone substitution for G7 (the VI7 chord) to lead smoothly into the ii chord.
- Subdominant minor movement is established through the transition from Ebmaj7 to Ebm7, creating a classic iv-I “backdoor” resolution to the Bbmaj7 tonic.
- Frequent secondary dominants, specifically G7b9 and D7b9, create temporary tonicizations of the supertonic (Cm7) and submediant (Gm7) tonal centers.
Improvisation Focus Navigating ii-V-I cell structures and utilizing the Bb Major Bebop scale.
Difficulty Rating 3/5 - The changes are grounded in standard bebop vocabulary but require fluid navigation of chromatic substitutions and secondary dominant turnarounds.
📚 Standard Available in:
The Real Book - Volume II
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