Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gmaj7 | 6 | 19.4% |
| C7#11 | 5 | 16.1% |
| D7 | 4 | 12.9% |
| C#m7b5 | 2 | 6.5% |
| Cm6 | 2 | 6.5% |
| G6/B | 2 | 6.5% |
| E7#5 | 2 | 6.5% |
| A7 | 2 | 6.5% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gmaj7 -> C7#11 | Setup (Major Key) | 5 |
| C7#11 -> Gmaj7 | Resolution (Major) | 4 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
| B7 -> Em7 | Resolution (Minor) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent oscillation between I (Gmaj7) and IV7#11 (C7#11) establishes a Lydian-inflected tonic area common in mid-century musical theater.
- The #ivm7b5 to ivm6 (C#m7b5 to Cm6) chromatic descent functions as a sophisticated subdominant minor variation that pulls strongly toward the tonic G6/B.
- Turnarounds utilize secondary dominants (E7#5, A7) to facilitate chromatic voice leading through the vi-II-V-I cycles.
Improvisation Focus The C Lydian Dominant scale (C, D, E, F#, G, A, Bb) is critical for navigating the recurring IV7#11 color without losing the G major tonal center.
Difficulty Rating 3/5: The harmonic rhythm is relatively fast during turnarounds, requiring precise navigation of the chromatic subdominant movements within a stable G major framework.
📚 Standard Available in:
The Real Book - Volume III
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