Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| C7 | 7 | 14.6% |
| Gm7 | 6 | 12.5% |
| F6 | 5 | 10.4% |
| Cm7 | 4 | 8.3% |
| F | 3 | 6.2% |
| Fmaj7 | 3 | 6.2% |
| Faug | 2 | 4.2% |
| Am7b5 | 2 | 4.2% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 4 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 2 |
| C7 -> Gm7 | Resolution (Minor) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| D7b9 -> Gm | Resolution (Minor) | 1 |
| Gm6 -> C7 | Setup (Major Key) | 1 |
| F7 -> Cm7 | Resolution (Minor) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The opening utilizes a line clichĂ© (5-#5-6) over the F tonic, creating internal chromatic movement common in “Great American Songbook” standards.
- Chromatic passing diminished chords (F#°7 and G#°7) provide smooth voice-leading transitions between the I, ii, and iii degrees.
- A secondary ii-V-i progression (Am7b5–D7b9–Gm) targets the supertonic, introducing minor-key tension within a major-key framework.
- The progression frequently employs ii-V cycles (Cm7–F7) to tonicize the subdominant (Bb), expanding the harmonic palette beyond simple diatonicism.
Improvisation Focus F Major Bebop scale, with specific attention to chord-tone targeting of secondary dominants (like the b9 on D7).
Difficulty Rating 2/5: The harmonic structure follows predictable diatonic cycles and common jazz turnarounds, making it highly accessible for intermediate improvisers.
đź“š Standard Available in:
The Real Book - Volume III
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