Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cm7 | 5 | 12.2% |
| Ebmaj7 | 4 | 9.8% |
| Fm7 | 4 | 9.8% |
| F7 | 4 | 9.8% |
| Bb7 | 4 | 9.8% |
| E07 | 2 | 4.9% |
| F#07 | 2 | 4.9% |
| Ebmaj7/G | 2 | 4.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| G7b13 -> Cm7 | Resolution (Minor) | 1 |
| Cm7 -> F7sus | Setup (Major Key) | 1 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression employs a stepwise chromatic ascent via diminished chords (I–#Io7–iim7–#iio7) in the opening A section, creating dense, fluid voice leading.
- The “Backdoor” turnaround and chromatic dominant descent (D7–Db7–C7) showcase Eubie Blake’s stride roots, facilitating a smooth transition to the II-V-I.
- Extensive use of the minor subdominant (Abm6) and its related ii-V (Am7b5–D7) provides the signature “sentimental” modal mixture common in early jazz ballads.
Improvisation Focus Navigating chromatic passing tones and the Eb Major Bebop scale to connect rapidly shifting tonal centers.
Difficulty Rating 3/5: While the ballad tempo is forgiving, the dense harmonic rhythm and frequent non-diatonic passing chords require a strong grasp of functional voice leading.
đź“š Standard Available in:
The Real Book - Volume II
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