Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 10 | 21.3% |
| Bb7 | 6 | 12.8% |
| Ebmaj7 | 4 | 8.5% |
| Eb6 | 3 | 6.4% |
| F7 | 3 | 6.4% |
| Abmaj7 | 2 | 4.3% |
| Gm7b5 | 2 | 4.3% |
| C7b13 | 2 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 5 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 2 |
| Gm7b5 -> C7b13 | Setup (Minor Key) | 2 |
| C7b13 -> Fm7 | Resolution (Minor) | 2 |
| Abm7 -> Db7 | Setup (Major Key) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| C7 -> Fm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent use of the “back-door” ii-V sequence ($Abm7$ - $Db7$) resolving to $Ebmaj7$ provides a sophisticated subdominant minor flavor.
- Tonicization of the ii chord ($Fm7$) via its own ii-V ($Gm7b5$ - $C7b13$) shifts the tonal center to the relative minor area.
- Chromatic voice leading through the $Gb^{\circ}7$ passing chord facilitates a smooth scalar ascent from the tonic $Eb$ to the supertonic $Fm7$.
- Secondary dominants ($F7$ to $Bb7$) utilize the cycle of fifths to reinforce the primary $Eb$ major tonality.
Improvisation Focus Mastery of Major and Minor ii-V-I cells, specifically navigating the transition from $Eb$ Major to the $F$ Aeolian/Minor landscape.
Difficulty Rating 3/5 - The tune requires precise navigation of minor ii-Vs and non-diatonic substitutions while maintaining a lyrical, slow-ballad phrasing.
📚 Standard Available in:
The Real Book - Volume I
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