Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gmaj7 | 7 | 16.7% |
| Am7 | 6 | 14.3% |
| D7 | 5 | 11.9% |
| D7#5 | 4 | 9.5% |
| Bm7 | 4 | 9.5% |
| Em7 | 3 | 7.1% |
| C7#11 | 2 | 4.8% |
| Bb07 | 2 | 4.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 5 |
| Gmaj7 -> D7#5 | Setup (Major Key) | 4 |
| D7#5 -> Gmaj7 | Resolution (Major) | 4 |
| Gmaj7 -> C7#11 | Setup (Major Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 2 |
| D7 -> Am7 | Resolution (Minor) | 1 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 1 |
| B7b9 -> Em7 | Resolution (Minor) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| Eb7 -> Bbm7 | Resolution (Minor) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Employs tonic-dominant expansion via
D7#5, utilizing the augmented fifth (A#) for smooth chromatic voice leading into the major third (B) ofGmaj7. - Features a sophisticated
IV7toiii7transition (C7#11toBm7) followed by a chromaticbIII°7(Bb°7) passing chord to bridge the gap to theii7. - Incorporates a minor
ii-Vsequence (F#m7b5-B7b9) targeting the relative minor (Em7), which then shifts through a secondary dominant (A7asV/V) to return to the primary key.
Improvisation Focus
Functional G Major scale logic with specific application of the C Lydian Dominant scale over the IV7 and diminished arpeggios for chromatic connectors.
Difficulty Rating 3 — While the tempo is usually a ballad, the soloist must navigate frequent non-diatonic passing chords and secondary dominants while maintaining a lyrical melodic line.
📚 Standard Available in:
The Real Book - Volume III
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