Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bb7 | 8 | 21.6% |
| Fm7 | 7 | 18.9% |
| Ebmaj7 | 6 | 16.2% |
| Cm7 | 6 | 16.2% |
| F7 | 4 | 10.8% |
| Eb6 | 3 | 8.1% |
| Abmaj7 | 2 | 5.4% |
| Bb7#5 | 1 | 2.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 6 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 4 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| Bb7 -> Fm7 | Resolution (Minor) | 1 |
| Fm7 -> Bb7#5 | Setup (Major Key) | 1 |
| Bb7#5 -> Ebmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression centers on the I-VI-ii-V turnaround (Ebmaj7-Cm7-Fm7-Bb7), a foundational cycle that reinforces the Eb major tonic.
- The inclusion of the secondary dominant V7/V (F7) instead of the diatonic ii (Fm7) introduces chromatic tension, pulling more aggressively toward the dominant Bb7.
- A stable subdominant (Abmaj7) provides a brief harmonic plateau, momentarily suspending the cyclic motion of the tonic-dominant turnarounds.
- Stepwise root movement and circle-of-fifths logic ensure smooth voice leading, typical of Vernon Duke’s sophisticated yet accessible compositional style.
Improvisation Focus Eb Major Bebop scale and guide-tone navigation of the I-VI-ii-V cycle.
Difficulty Rating 2/5 - The predictable diatonic structure and standard ii-V-I patterns make it an ideal vehicle for practicing foundational jazz vocabulary.
📚 Standard Available in:
The Real Book - Volume III
🛒 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.