Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 4 | 10.3% |
| Bbmaj7 | 3 | 7.7% |
| Gm7 | 3 | 7.7% |
| C7 | 3 | 7.7% |
| Bm7 | 2 | 5.1% |
| E7 | 2 | 5.1% |
| Cm7 | 2 | 5.1% |
| F7 | 2 | 5.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 3 |
| Bm7 -> E7 | Setup (Major Key) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| F7 -> Bbmaj7 | Resolution (Major) | 2 |
| Em7 -> A7 | Setup (Major Key) | 2 |
| A7 -> Dmaj7 | Resolution (Major) | 2 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Tonicization of the IV chord (Bbmaj7) through a secondary ii-V (Cm7-F7), a structural staple of the composition’s A section.
- The Bm7-E7 sequence functions as a chromatic ii-V detour, creating a brief “side-slipping” tension before resolving back to the Fmaj7 tonic.
- Bright modulation to Dmaj7 via an Em7-A7 progression, which introduces a major/minor mode mixture against the relative F major/D minor axis.
- Systematic use of the cycle of fifths (Dm7-G7-Cmaj7 into Gm7-C7-Fmaj7) to navigate between temporary tonal centers and the home key.
Improvisation Focus Voice leading through Major ii-V-I sequences in multiple keys (F, Bb, and D), focusing on the resolution of 7ths to 3rds.
Difficulty Rating 3 (Intermediate); the performer must fluidly navigate rapid modulations and distinct tonal shifts while maintaining a melodic connection across several key centers.
📚 Standard Available in:
The Real Book - Volume II
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