Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 4 | 12.1% |
| Eb7 | 4 | 12.1% |
| D7#9 | 4 | 12.1% |
| Cm7 | 3 | 9.1% |
| F7 | 3 | 9.1% |
| Em7b5 | 2 | 6.1% |
| Dm7 | 2 | 6.1% |
| F7#5 | 2 | 6.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7#5 | Setup (Major Key) | 2 |
| D7#9 -> Gm7 | Resolution (Minor) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression features a sophisticated chromatic descent (Em7b5 to Eb7 to Dm7) that provides a smooth, non-diatonic transition back to the Gm7 tonic.
- Use of the “backdoor” ii-V (Cm7 to F7#5) resolving to Bb7 demonstrates Jimmy Heath’s mastery of integrating the relative major within a minor blues-adjacent framework.
- A lengthy cycle-of-fourths sequence (G7-C7-F7) acts as an extended turnaround, creating forward momentum before resolving via the primary dominant (D7#9) to G minor.
- Frequent use of altered dominant chords, specifically #5 and #9 extensions, heightens tension and facilitates voice-leading across the minor key center.
Improvisation Focus G Melodic Minor scale, providing the necessary color for both tonic minor stability and the various altered dominant tensions.
Difficulty Rating 3/5 - While the tempo is often brisk, the harmonic structure relies on standard bebop cycles and minor ii-V-I patterns familiar to intermediate players.
📚 Standard Available in:
The Real Worship Book
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