Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 6 | 14.0% |
| Eb6 | 4 | 9.3% |
| Ab7 | 4 | 9.3% |
| C7 | 4 | 9.3% |
| Ebmaj7 | 3 | 7.0% |
| Cm7 | 3 | 7.0% |
| Fm7 | 3 | 7.0% |
| Bb7 | 3 | 7.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 4 |
| Ab7 -> Ebmaj7 | Resolution (Major) | 2 |
| C7 -> Gm7 | Resolution (Minor) | 2 |
| C7 -> Fm/Ab | Resolution (Minor) | 2 |
| Ebmaj7/G -> Ab7 | Setup (Major Key) | 2 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 1 |
| G7 -> Cm7 | Resolution (Minor) | 1 |
| Abm7 -> Db7 | Setup (Major Key) | 1 |
| Ab7 -> Ebmaj7/Bb | Resolution (Major) | 1 |
| Ebmaj7/Bb -> Bb7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Employs a signature Ellingtonian I–IV7 movement (Eb6 to Ab7), utilizing the dominant-quality subdominant for a bluesy, swing-era color.
- Uses the F#dim7 (oVII/iii) as a chromatic passing chord to facilitate smooth voice leading between Fm7 and the tonic in first inversion (Ebmaj7/G).
- The bridge shifts tonal centers to the mediant (G minor) and submediant (C minor) via secondary minor ii-V-I progressions (Am7b5–D7–Gm and Dm7b5–G7–Cm).
- Frequent secondary dominant usage, specifically C7 (V/ii), creates a strong cycle-of-fourths pull toward the Fm7 (ii) chord.
Improvisation Focus Guide-tone navigation to highlight the shifting 3rds and 7ths through the bridge’s minor ii-V-I sequences.
Difficulty Rating 3/5. While the A sections are diatonic and accessible, the bridge requires precise navigation of rapid modulations and minor-key harmonic centers.
📚 Standard Available in:
The Real Book - Volume I
🛒 Buy on AmazonAs an Amazon Associate I earn from qualifying purchases. Check the Hal Leonard Jazz Song Finder to make sure that the standard is indeed in the book before buying it.