Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 9 | 12.5% |
| C7 | 9 | 12.5% |
| Cm7 | 6 | 8.3% |
| G7 | 6 | 8.3% |
| Ab7 | 5 | 6.9% |
| F7#5 | 4 | 5.6% |
| Fm7 | 4 | 5.6% |
| Bb7 | 4 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 9 |
| C7 -> Gm7 | Resolution (Minor) | 4 |
| Fm7 -> Bb7 | Setup (Major Key) | 4 |
| Dm7 -> G7 | Setup (Major Key) | 3 |
| Cm7 -> F7#5 | Setup (Major Key) | 2 |
| Bb7 -> Fm7 | Resolution (Minor) | 2 |
| Ebm7 -> Ab7 | Setup (Major Key) | 2 |
| G7 -> Dm7 | Resolution (Minor) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| Ab7 -> Ebm6 | Resolution (Minor) | 2 |
| F7 -> Cm7 | Resolution (Minor) | 1 |
| Ebm6 -> Ab7 | Setup (Major Key) | 1 |
| Cm7 -> F7b9 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression utilizes extended ii-V chains, notably Gm7-C7 (ii-V of V) and Fm7-Bb7 (ii-V of IV), to create temporary tonicizations before returning to the Bb tonic.
- The inclusion of Dm7b5-G7 functions as a minor ii-V leading to Cm7, introducing dark, blues-inflected tension typical of Arlen’s harmonic language.
- A “backdoor” ii-V sequence (Ebm7-Ab7) facilitates a chromatic return to the tonic Bb, a sophisticated alternative to the standard V7-I cadence.
- Dominant chords frequently feature altered extensions, such as F7#5, to maximize melodic voice-leading tension toward the target resolutions.
Improvisation Focus Chord-tone soloing emphasizing the guide tones (3rds and 7ths) of the shifting secondary dominants.
Difficulty Rating 3/5; the tune follows a standard form but requires navigating frequent secondary dominants and chromatic backdoor resolutions.
📚 Standard Available in:
The Real Book - Volume III
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