Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm7 | 7 | 11.7% |
| G7 | 7 | 11.7% |
| Em7 | 6 | 10.0% |
| C7 | 5 | 8.3% |
| Gm7 | 4 | 6.7% |
| Ebm7 | 3 | 5.0% |
| Fmaj7 | 3 | 5.0% |
| A7 | 3 | 5.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 4 |
| Dm7 -> G7 | Setup (Major Key) | 3 |
| C7 -> Fmaj7 | Resolution (Major) | 3 |
| Em7 -> A7 | Setup (Major Key) | 3 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 2 |
| A7 -> Dm7 | Resolution (Minor) | 2 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| Fmaj7 -> C7 | Setup (Major Key) | 1 |
| A7 -> Em7 | Resolution (Minor) | 1 |
| F#m7b5 -> B7 | Setup (Minor Key) | 1 |
| B7 -> Em7 | Resolution (Minor) | 1 |
| Dm7 -> G7sus | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Employs chromatic parallel motion with a descending ii-V sequence (Em7 - Ebm7 - Dm7), using the biii-7 as a passing chord to bridge the mediant and supertonic.
- Features frequent secondary dominants, notably E7 to tonicize the vi chord (Am7) and Gm7-C7 to establish the subdominant (Fmaj7).
- Utilizes the “backdoor” dominant (Bb7) to create a smooth transition back to the tonic or IV chord, common in late-swing era ballads.
- Integrates ii-V cycles that modulate briefly to the subdominant key area, requiring shifts between C major and F major tonal centers.
Improvisation Focus Voice leading through ii-V-I progressions, specifically targeting guide tones (3rds and 7ths) to resolve chromatic passing chords.
Difficulty Rating 3/5: Requires the ability to navigate chromatic shifts and secondary dominants while maintaining a lyrical, ballad-tempo flow.
📚 Standard Available in:
The Real Book - Volume III
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