Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 10 | 18.9% |
| C7 | 9 | 17.0% |
| Fmaj7 | 7 | 13.2% |
| D7 | 5 | 9.4% |
| Am7 | 4 | 7.5% |
| G7 | 3 | 5.7% |
| Bb7 | 2 | 3.8% |
| Ab07 | 2 | 3.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 9 |
| D7 -> Gm7 | Resolution (Minor) | 5 |
| C7 -> Fmaj7 | Resolution (Major) | 5 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 2 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Employs persistent I-VI7-ii-V cycles (Fmaj7-D7-Gm7-C7), typical of the “Great American Songbook” style, providing a strong sense of forward motion.
- Features a chromatic passing diminished chord (Ab°7) acting as a connector between the IV7 and the iii chord (Am7).
- Utilizes the Bb7 as a Lydian Dominant (IV7) chord, often resolving downward to Am7 rather than functioning as a traditional subdominant.
- Secondary dominants (D7) are used consistently to tonicize the ii chord (Gm7), requiring awareness of the F# accidental within the F major tonality.
Improvisation Focus F Major Bebop Scale to navigate the frequent I-VI-ii-V turnarounds while addressing the secondary dominants.
Difficulty Rating 2/5: The harmonic rhythm is predictable and the cycles are standard, though the chromatic passing chords require basic chord-tone targeting.
📚 Standard Available in:
The Real Book - Volume III
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