Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| D7 | 5 | 12.2% |
| Am7 | 4 | 9.8% |
| Dm7 | 4 | 9.8% |
| Gmaj7 | 3 | 7.3% |
| A7 | 3 | 7.3% |
| B7 | 3 | 7.3% |
| E7 | 3 | 7.3% |
| C7 | 2 | 4.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 3 |
| Gmaj7 -> C7 | Setup (Major Key) | 2 |
| Bm7 -> E7b13 | Setup (Major Key) | 1 |
| Am7 -> D7#9 | Setup (Major Key) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gmaj7 | Resolution (Major) | 1 |
| A7b9 -> Dm7 | Resolution (Minor) | 1 |
| B7 -> Em7b5 | Resolution (Minor) | 1 |
| Em7b5 -> A7b9 | Setup (Minor Key) | 1 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Extensive use of secondary dominants and chromatic “side-slipping” (A7 to Bb7) complicates the standard G major diatonic framework.
- Frequent minor ii-V (Am7b5 to D7b9) sequences resolving to G major create the tune’s signature dark-to-light harmonic shifts.
- The I to IV7 (Gmaj7 to C7) progression provides a blues-inflected subdominant function, diverging from standard diatonic expectations.
- Strategic inclusion of the #iv diminished chord (G#°7) functions as a chromatic passing chord leading efficiently to the ii (Am7).
Improvisation Focus Guide-tone mapping using Altered and Mixolydian b13 scales to navigate the dense, rapid secondary dominant extensions.
Difficulty Rating 4/5: The sophisticated harmonic rhythm and high density of non-diatonic extensions require advanced knowledge of functional substitution and minor-key modes.
📚 Standard Available in:
The Real Book - Volume II
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