Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| D7 | 8 | 17.4% |
| Am7 | 7 | 15.2% |
| Gmaj7 | 4 | 8.7% |
| Em7 | 4 | 8.7% |
| D7sus | 3 | 6.5% |
| Dm7 | 2 | 4.3% |
| G7 | 2 | 4.3% |
| Cmaj7 | 2 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 5 |
| D7 -> Gmaj7 | Resolution (Major) | 3 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| C#m7b5 -> F#7 | Setup (Minor Key) | 2 |
| F#7 -> Bm7 | Resolution (Minor) | 2 |
| Bm7 -> E7b9 | Setup (Major Key) | 2 |
| E7b9 -> Am7 | Resolution (Minor) | 2 |
| Am7 -> D7sus | Setup (Major Key) | 2 |
| Gmaj7/D -> D7 | Setup (Major Key) | 1 |
| E7 -> Am7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Utilizes a foundational I-vi-ii-V (Gmaj7-Em7-Am7-D7) turnaround in the A section, providing a stable diatonic framework.
- Employs a tonicization of the IV chord (Cmaj7) via a secondary ii-V (Dm7-G7) followed by a modal interchange Cm6 (iv), a hallmark of Gershwin’s harmonic palette.
- Incorporates a sequence of secondary dominants (C#m7b5-F#7 to Bm7-E7b9) to navigate from the subdominant region back to the primary ii-V-I cadence.
Improvisation Focus G Major Pentatonic and G Major Blues scales, complemented by chord-tone targeting and arpeggios through the bridge’s chromatic secondary dominant movements.
Difficulty Rating 2/5: The tune follows predictable diatonic patterns and standard jazz clichés, making it highly accessible for developing improvisers.
📚 Standard Available in:
The Real Book - Volume VI
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