Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| G7 | 7 | 15.2% |
| C6 | 5 | 10.9% |
| Dm7 | 5 | 10.9% |
| F6 | 4 | 8.7% |
| Bm7 | 3 | 6.5% |
| E7 | 3 | 6.5% |
| G7b9 | 2 | 4.3% |
| Cmaj7 | 2 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bm7 -> E7 | Setup (Major Key) | 3 |
| Dm7 -> G7 | Setup (Major Key) | 3 |
| G7b9 -> Cmaj7 | Resolution (Major) | 2 |
| A7/E -> Dm7 | Resolution (Minor) | 2 |
| E7 -> Am7 | Resolution (Minor) | 1 |
| A7 -> Dm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression utilizes a prolonged IV-iii-VI-II-V-I cycle, creating a strong sense of forward momentum through the circle of fifths.
- The composition begins on the subdominant C6 (IV), delaying tonic arrival to generate a distinctive sense of melodic suspension and harmonic “softness.”
- Secondary dominants, specifically E7 (VI7) and A7 (II7), are employed to tonicize the upcoming ii-V-I cadences, enriched by altered extensions like G7b9 and E7#5.
- The Eb°7 functions as a #ii° chromatic passing chord, providing a smooth voice-leading bridge back to the G/D (I) during the turnaround.
Improvisation Focus G Major Bebop scale and targeting the 3rds and 7ths of the secondary dominants (E7, A7, D7).
Difficulty Rating 2/5 — The harmonic path follows a logical, diatonic-based cycle of fifths that is predictable for intermediate improvisers.
📚 Standard Available in:
The Real Book - Volume III
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