Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Db7 | 10 | 18.9% |
| C7 | 10 | 18.9% |
| Cm7 | 5 | 9.4% |
| Gm7 | 4 | 7.5% |
| Dm7 | 4 | 7.5% |
| F7 | 4 | 7.5% |
| Fmaj7 | 3 | 5.7% |
| D7 | 3 | 5.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7 | Setup (Major Key) | 4 |
| C7 -> Fmaj7 | Resolution (Major) | 3 |
| F7 -> Cm7 | Resolution (Minor) | 2 |
| F7 -> Bbmaj7 | Resolution (Major) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| Cm7 -> F7sus | Setup (Major Key) | 1 |
| F7sus -> Cm7 | Resolution (Minor) | 1 |
| G7 -> Dm7 | Resolution (Minor) | 1 |
| Am7b5 -> D7 | Setup (Minor Key) | 1 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent use of the bVI7 (Db7) acting as a tritone substitute for the V/V (G7), creating a chromatic descent to the dominant C7.
- A diatonic stepwise ascent in the A section (I - ii - iii) followed by a VI7 (D7) secondary dominant, providing a strong pull toward the ii chord.
- The structure features sophisticated “side-slipping” harmony where dominant chords move by half-step rather than via the cycle of fifths.
Improvisation Focus Smooth voice leading through chromatic substitutions, specifically utilizing the Db Lydian Dominant scale to target the chord tones of the primary dominant (C7).
Difficulty Rating 3/5: While the ballad tempo is manageable, the constant chromatic movement between the bVI7 and V7 requires a sophisticated understanding of non-diatonic resolutions.
📚 Standard Available in:
The Real Book - Volume VI
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