Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Eb7 | 8 | 16.0% |
| Eb | 4 | 8.0% |
| Ab6 | 4 | 8.0% |
| Bbm7 | 4 | 8.0% |
| Gm7 | 4 | 8.0% |
| Fm7 | 4 | 8.0% |
| Bb7 | 4 | 8.0% |
| Abmaj7 | 2 | 4.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bbm7 -> Eb7 | Setup (Major Key) | 4 |
| Fm7 -> Bb7 | Setup (Major Key) | 4 |
| Eb7 -> Bbm7 | Resolution (Minor) | 2 |
| Eb7 -> Abmaj7 | Resolution (Major) | 2 |
| Gm7 -> C7b9 | Setup (Major Key) | 2 |
| C7b9 -> Fm7 | Resolution (Minor) | 2 |
| Dm7b5 -> G7b9 | Setup (Minor Key) | 1 |
| G7b9 -> Cm | 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:
- Secondary dominant movement (Bbm7-Eb7) effectively tonicizes the IV chord (Abmaj7), reinforcing a blues-inflected gospel feel.
- The transition from Abmaj7 to Abm6 introduces a minor plagal cadence, providing a characteristic “darkened” resolution back to the Eb tonic.
- The bridge utilizes a chromatic line cliché (Cm, Cm/maj7, Cm7, Cm6), necessitating precise internal voice leading over a static minor root.
- Frequent use of the VI7 (C7b9) provides a strong secondary dominant pull to the ii chord (Fm7), typical of sophisticated AABA song forms.
Improvisation Focus: Melodic targeting of the b6 interval (Cb) to highlight the Abm6 “minor IV” tonality.
Difficulty Rating: 3/5. The ballad tempo is accessible, but the chromatic bridge and frequent modulation toward the subdominant require intermediate harmonic navigation.
📚 Standard Available in:
The Real Book - Volume I
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