Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| C7 | 9 | 24.3% |
| Bb6 | 5 | 13.5% |
| F7 | 4 | 10.8% |
| Eb6 | 3 | 8.1% |
| Gm7 | 3 | 8.1% |
| E07 | 2 | 5.4% |
| Bb/F | 2 | 5.4% |
| G7 | 2 | 5.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 3 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| C7 -> Fm7 | Resolution (Minor) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Utilization of the secondary dominant II7 (C7) as a V/V, creating a bright, ragtime-inflected Lydian Dominant sound common in early swing.
- Implementation of the #IVdim7 (Eº7) passing chord to bridge the IV (Eb6) and the tonic over the dominant pedal (Bb/F), a classic gospel-influenced cadence.
- Frequent tonicization of the subdominant via ii-V7 cells (Fm7-Bb7 to Eb6), shifting the tonal center briefly to the IV chord during the bridge and transitions.
Improvisation Focus
Bb Major Blues Scale (blending the major 3rd and 6th with the minor 3rd and b7 to capture the authentic swing-era “sweet and hot” duality).
Difficulty Rating
2/5. The progression follows predictable swing conventions and a standard AABA structure, offering clear voice-leading paths for intermediate improvisers.