Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| C7 | 6 | 13.6% |
| Bbmaj7 | 6 | 13.6% |
| Eb7 | 5 | 11.4% |
| F7 | 4 | 9.1% |
| Am7 | 4 | 9.1% |
| E7b9 | 3 | 6.8% |
| C07 | 2 | 4.5% |
| Bb7 | 2 | 4.5% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bbmaj7 -> Eb7 | Setup (Major Key) | 3 |
| Eb7 -> Bbmaj7 | Resolution (Major) | 3 |
| Am7 -> E7b9 | Setup (Major Key) | 3 |
| E7b9 -> Am7 | Resolution (Minor) | 3 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| F7 -> Bbmaj7 | Resolution (Major) | 2 |
| Bm7b5 -> E7 | Setup (Minor Key) | 1 |
| E7 -> Am7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent use of diminished passing chords ($C^{\circ7}$, $Ab^{\circ7}$) creates smooth chromatic voice leading between diatonic anchors, a hallmark of Gershwin’s sophisticated “sweet” jazz style.
- The A-section employs the “backdoor” dominant ($Eb7$ to $Fmaj7$), utilizing the $bVII7$ to create a softer, more melodic resolution than a traditional $V-I$ cadence.
- The bridge shifts to the subdominant ($Bbmaj7$) and utilizes a repetitive $I - bVII7$ ($Bbmaj7 - Eb7$) vamp, introducing a blues-influenced contrast to the more complex harmonic movement of the A-sections.
Improvisation Focus
- Navigating chromaticism via the Whole-Half Diminished scale over passing diminished chords to connect diatonic target tones.
Difficulty Rating
- 3/5 — The slow ballad tempo aids the performer, but the constant chromatic substitutions and non-functional dominant chords require a solid grasp of voice leading.
đź“š Standard Available in:
The Real Book - Volume VI
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