Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| F6 | 4 | 22.2% |
| Eb6 | 4 | 22.2% |
| Bbmaj7 | 2 | 11.1% |
| F7sus | 1 | 5.6% |
| F7 | 1 | 5.6% |
| Bbm7 | 1 | 5.6% |
| Eb7 | 1 | 5.6% |
| Abm7 | 1 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Eb7 -> Abm7 | Resolution (Minor) | 1 |
| Abm7 -> Db7 | Setup (Major Key) | 1 |
| Db7 -> Gbmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The initial F6 to Eb6 oscillation establishes a Mixolydian modal framework, utilizing the bVII major chord to create a relaxed, non-functional tension.
- The progression employs sequential ii-V patterns (Bbm7–Eb7 moving to Abm7–Db7) that descend by whole steps, creating a sense of rapid tonal shifting before resolving to Gbmaj7.
- Modal interchange is highlighted by the direct juxtaposition of Bbmaj7 and its parallel minor, Bbm7, which pivots the harmony from a bright I major to a darker subdominant minor feel.
- The movement from Gbmaj7 to C7 functions as a bII to V substitute or a chromatic approach, bridging the distant flat-key bridge back to the primary F tonality.
Improvisation Focus The F Mixolydian scale and the navigation of chromatic ii-V sequences in the bridge.
Difficulty Rating 3/5: While the modal vamps are straightforward, the bridge’s rapid modulations and parallel minor shifts require intermediate harmonic fluency.
📚 Standard Available in:
The Real Book - Volume II
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