Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 14 | 26.4% |
| C7 | 9 | 17.0% |
| F6 | 8 | 15.1% |
| Am7 | 7 | 13.2% |
| D7 | 4 | 7.5% |
| Bbmaj7 | 3 | 5.7% |
| Fmaj7 | 2 | 3.8% |
| Bm7 | 1 | 1.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 5 |
| D7 -> Gm7 | Resolution (Minor) | 4 |
| Am7 -> D7 | Setup (Major Key) | 3 |
| C7 -> Fmaj7 | Resolution (Major) | 2 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
| E7 -> Am7 | Resolution (Minor) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Stepwise Diatonic Motion: The A-section employs a I-ii-iii-ii (F6-Gm7-Am7-Gm7) oscillation, creating a melodic, horizontal feel rather than aggressive vertical tension.
- Secondary Dominant V/ii: The D7 chord functions as a secondary dominant targeting Gm7, providing a strong chromatic pull that breaks the purely diatonic flow.
- Dominant Prolongation: Multiple consecutive measures of C7 (V7) build significant harmonic pressure, requiring melodic development over a static dominant area before resolving to Fmaj7.
- Tonicization of iii: The Bm7 chord acts as a “ii” relating to the iii chord (Am7), introducing a brief excursion into the mediant key area through standard ii-V logic.
Improvisation Focus F Major Bebop Scale (integrating the b6 passing tone to navigate the I-ii-iii-ii movement with smooth voice leading).
Difficulty Rating 2/5; the progression is predominantly diatonic and follows predictable circle-of-fifths movements, making it an excellent study for foundational jazz phrasing.
📚 Standard Available in:
The Real Vocal Book - Volume IV
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