Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| C7 | 9 | 22.5% |
| Gm7 | 6 | 15.0% |
| Bbmaj7 | 5 | 12.5% |
| Fmaj7 | 4 | 10.0% |
| Am7 | 3 | 7.5% |
| Ab07 | 3 | 7.5% |
| Cm7 | 2 | 5.0% |
| F7 | 2 | 5.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 6 |
| Fmaj7 -> C7 | Setup (Major Key) | 3 |
| C7 -> Fmaj7 | Resolution (Major) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| F7 -> Bbmaj7 | Resolution (Major) | 2 |
| D7 -> Gm7 | Resolution (Minor) | 2 |
| Bbmaj7 -> Eb7 | Setup (Major Key) | 1 |
- Strong reliance on ii-V-I progressions, particularly Gm7-C7, clearly establishing the tonic F major.
- The Ab07 functions as a chromatic diminished chord, often resolving down a half-step to Gm7, providing a characteristic jazz color.
- A brief tonicization of the subdominant (Bb major) is achieved through the Cm7-F7 (ii-V) progression.
- Incorporates the secondary dominant G7 (V/C) to anticipate the C7, leading back to the primary ii-V-I in F.
Improvisation Focus: F Major scale and its diatonic modes, adapting to dominant 7th chords with Mixolydian.
Difficulty Rating: 2 (Beginner-Intermediate). The standard utilizes mostly diatonic harmony and common ii-V-I patterns, making it approachable for early jazz study.