Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm7 | 8 | 14.8% |
| G7 | 8 | 14.8% |
| Am7 | 6 | 11.1% |
| Em7 | 5 | 9.3% |
| G#0 | 4 | 7.4% |
| A7 | 4 | 7.4% |
| Cmaj7 | 2 | 3.7% |
| Fmaj7 | 2 | 3.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 7 |
| A7 -> Dm7 | Resolution (Minor) | 4 |
| Em7 -> A7 | Setup (Major Key) | 3 |
| E7 -> Am7 | Resolution (Minor) | 2 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 2 |
| B7b9 -> Em7 | Resolution (Minor) | 1 |
| B7b9 -> Em | Resolution (Minor) | 1 |
| Dm7 -> A7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent use of $G#^\circ7$ as a chromatic passing chord between the $V$ or $I$ and $vi$, functioning as a secondary leading-tone chord to $Am7$.
- Extensive secondary dominant chains ($A7 \to Dm7$ and $D7 \to G7$) that enrich the basic $I-vi-ii-V$ framework with additional melodic tension.
- The bridge shifts focus toward the relative minor via a $ii-V-i$ progression ($Bm7b5 - E7 - Am7$), requiring a transition from $C$ major to $A$ harmonic/melodic minor scales.
Improvisation Focus Navigating $ii-V-I$ cells by targeting guide tones (3rds and 7ths) to smoothly connect the frequent secondary dominant resolutions.
Difficulty Rating 3/5; while the slow ballad tempo allows for preparation, the dense harmonic movement and frequent chromatic substitutions require a solid grasp of functional harmony.
📚 Standard Available in:
The Real Book - Volume I
🛒 Buy on AmazonAs an Amazon Associate I earn from qualifying purchases. Check the Hal Leonard Jazz Song Finder to make sure that the standard is indeed in the book before buying it.