Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| G7 | 6 | 12.0% |
| Bb6 | 4 | 8.0% |
| Dm7 | 4 | 8.0% |
| Ab7 | 4 | 8.0% |
| Ebm7 | 3 | 6.0% |
| Cm7b5 | 3 | 6.0% |
| Bbmaj7 | 3 | 6.0% |
| Am7b5 | 2 | 4.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 4 |
| Ebm7 -> Ab7 | Setup (Major Key) | 3 |
| G7 -> Cm7b5 | Resolution (Minor) | 3 |
| Am7b5 -> D7#11 | Setup (Minor Key) | 2 |
| Cm7b5 -> F7b9 | Setup (Minor Key) | 2 |
| G7#9 -> Cm7 | Resolution (Minor) | 1 |
| Cm7 -> F7#9 | Setup (Major Key) | 1 |
| Cm7b5 -> F7b13 | Setup (Minor Key) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression utilizes a minor ii-V (Am7b5 – D7#11) targeting the relative minor, introducing sophisticated modal color within a Bb major framework.
- A “backdoor” ii-V movement (Ebm7 – Ab7) functions as a chromatic transition to the iii chord (Dm7), showcasing Arlen’s signature use of non-diatonic substitutes.
- The bridge employs extended secondary dominant chains (D7–G7–C7–F7), creating a cycle-of-fifths momentum that requires careful navigation of altered tensions.
- Frequent use of dominant 7#9 and 7b9 chords provides a blues-inflected harmonic density that bridges the gap between traditional jazz and torch song aesthetics.
Improvisation Focus Navigating altered dominant scales to highlight the tension and resolution inherent in the frequent secondary ii-V-I progressions.
Difficulty Rating 3/5: The performer must manage rapid shifts between major and minor functional harmony and track constant secondary dominant resolutions.
📚 Standard Available in:
The Real Book - Volume III
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