Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Em7 | 7 | 14.9% |
| Dm7 | 5 | 10.6% |
| G7 | 5 | 10.6% |
| Cmaj7 | 4 | 8.5% |
| Am7 | 3 | 6.4% |
| F#m7b5 | 3 | 6.4% |
| B7b9 | 3 | 6.4% |
| A7 | 3 | 6.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 5 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 3 |
| B7b9 -> Em7 | Resolution (Minor) | 3 |
| Em7 -> A7 | Setup (Major Key) | 3 |
| A7 -> Dm7 | Resolution (Minor) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| C#7b13 -> F#m7b5 | Resolution (Minor) | 1 |
| D7sus -> Gmaj7 | Resolution (Major) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Employs a prominent secondary ii-V (F#m7b5 – B7b9) to tonicize the mediant (Em7), creating a brief shift to E minor tonality.
- Uses a Gm7 – C7 sequence to tonicize the IV chord (F major), a hallmark of Gershwin-era subdominant movement.
- Features chromatic tension via the C#7b13 chord, serving as a substitute dominant or chromatic connector to lead back into the F#m7b5.
- Relies on standard I-vi-ii-V turnarounds (Cmaj7 – Am7 – Dm7 – G7) to reinforce the C major tonic between secondary modulations.
Improvisation Focus Targeted chord-tone soloing to navigate frequent secondary ii-V-I cycles.
Difficulty Rating 3/5; the harmonic rhythm is steady, but the frequent secondary dominants and minor ii-V-I sequences require precise melodic targeting beyond the home scale.
📚 Standard Available in:
The Real Book - Volume VI
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