Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bb7 | 10 | 21.7% |
| Fm7 | 8 | 17.4% |
| F7 | 6 | 13.0% |
| Ebmaj7 | 5 | 10.9% |
| Bbm7 | 3 | 6.5% |
| Eb7 | 3 | 6.5% |
| Ab6 | 2 | 4.3% |
| Cm7 | 2 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 7 |
| Bb7 -> Fm7 | Resolution (Minor) | 3 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 3 |
| Bbm7 -> Eb7 | Setup (Major Key) | 3 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| Eb7 -> Bbm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Employs a persistent II7 (F7) secondary dominant (V/V) in the A section, creating a bright “Lydian” color that resolves through a ii-V-I turnaround.
- Utilizes a secondary ii-V progression (Bbm7 - Eb7) to pivot toward the subdominant (Ab6), typical of Gershwin’s sophisticated but functional bridge transitions.
- Incorporates chromatic voice leading via the B7, which functions as a tritone substitution for the dominant (Bb7) or a chromatic approach chord to the tonic.
Improvisation Focus Navigating the transition from the natural 4th (Ab) to the #4 (A natural) when shifting from the tonic Ebmaj7 to the secondary dominant F7.
Difficulty Rating 2/5 - The predictable AABA structure and reliance on standard ii-V-I vocabulary make this an ideal study for intermediate players mastering secondary dominants.
📚 Standard Available in:
The Real Book - Volume IV
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