Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| G7 | 6 | 14.0% |
| Fmaj7 | 4 | 9.3% |
| D7 | 4 | 9.3% |
| Gm7 | 4 | 9.3% |
| C7 | 4 | 9.3% |
| Eb7 | 3 | 7.0% |
| Em7b5 | 3 | 7.0% |
| Dm | 3 | 7.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 4 |
| C7 -> Fmaj7 | Resolution (Major) | 2 |
| Em7b5 -> A7b9 | Setup (Minor Key) | 2 |
| A7b9 -> Dm | Resolution (Minor) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Em7b5 -> A7 | Setup (Minor Key) | 1 |
| A7 -> Dm | Resolution (Minor) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The bVII7 (Eb7) acts as a chromatic pivot or backdoor dominant leading into the VI7 (D7), facilitating a transition into a prolonged cycle of fifths.
- Secondary dominants (D7 and G7) create strong directional tension, requiring the soloist to navigate temporary tonicizations of the ii and V chords.
- A modulation to the subdominant (Bbmaj7) is followed by a minor iv (Bbm7) or backdoor bVII7 (Eb7), utilizing a minor plagal resolution to return to the tonic Fmaj7.
Improvisation Focus Voice-leading through secondary dominants (3rd-to-7th guide tone connections).
Difficulty Rating 2/5. The progression follows highly predictable swing-era conventions and cycle-of-fifths movement, making it an accessible study in functional harmony.