Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| D7 | 8 | 21.1% |
| Am7 | 7 | 18.4% |
| Gmaj7 | 6 | 15.8% |
| Bm7 | 4 | 10.5% |
| E7 | 3 | 7.9% |
| C7 | 2 | 5.3% |
| B7b13 | 1 | 2.6% |
| Em7 | 1 | 2.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 7 |
| D7 -> Gmaj7 | Resolution (Major) | 3 |
| Bm7 -> E7 | Setup (Major Key) | 3 |
| E7 -> Am7 | Resolution (Minor) | 3 |
| D7 -> Am7 | Resolution (Minor) | 2 |
| Gmaj7 -> C7 | Setup (Major Key) | 2 |
| C7 -> Gmaj7 | Resolution (Major) | 2 |
| B7b13 -> Em7 | Resolution (Minor) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| D7 -> Am7/C | Resolution (Minor) | 1 |
| Bm7b5 -> E7b13 | Setup (Minor Key) | 1 |
| E7b13 -> Am7 | Resolution (Minor) | 1 |
| Bm7 -> E7b9 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent use of cyclic ii-V-I progressions (Am7-D7-Gmaj7) establishes a strong diatonic foundation in G major.
- Incorporation of secondary dominants (E7 to Am7 and A7 to D7) creates chromatic momentum through the circle of fifths.
- The B7b13 to Em7 (V/vi to vi) movement provides a brief, effective pivot into the relative minor, adding harmonic depth.
- Subdominant color via the IV7 (C7) chord introduces a subtle blues inflection within the primary major tonality.
Improvisation Focus G Major Bebop Scale (utilizing the chromatic passing tone between the 5th and 6th degrees to smoothly navigate the frequent ii-V-I cells).
Difficulty Rating 2/5: The tune primarily utilizes standard diatonic movements and predictable secondary dominants, making it highly accessible for intermediate improvisers.
📚 Standard Available in:
The Real Book - Volume VI
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