Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| C7 | 14 | 33.3% |
| F6 | 5 | 11.9% |
| F7 | 4 | 9.5% |
| Fmaj7 | 4 | 9.5% |
| Gm7 | 3 | 7.1% |
| Db7 | 2 | 4.8% |
| Dm7 | 2 | 4.8% |
| A7 | 2 | 4.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 3 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| C7#5#9 -> Fmaj7 | Resolution (Major) | 1 |
| Fmaj7 -> C7 | Setup (Major Key) | 1 |
| Dm7 -> A7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Employment of the bII7 (Db7) as a tritone substitute for G7, creating a smooth chromatic descent to the dominant C7.
- Integration of common-tone diminished chords (Cº7 and Fº7) to add harmonic color and internal voice-leading interest to the tonic and dominant pillars.
- Secondary dominant movements (F7) that imply a brief tonicization of the subdominant, reinforcing the cyclical nature of the swing-era progression.
- Turnaround tension via altered dominant voicings (C7#5#9), facilitating a strong melodic resolution back to the Fmaj7 tonic.
Improvisation Focus Chord tone targeting utilizing the F Major Bebop scale to bridge the gap between diatonic stability and chromatic passing tones.
Difficulty Rating 2/5; the predictable structural layout and clear diatonic cadences make it an ideal entry point for practicing secondary dominants and basic chromatic substitutions.
📚 Standard Available in:
The Real Book - Volume III
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