Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 4 | 15.4% |
| C6 | 3 | 11.5% |
| Am7 | 3 | 11.5% |
| D7 | 3 | 11.5% |
| G7 | 3 | 11.5% |
| E7 | 2 | 7.7% |
| C6/G | 2 | 7.7% |
| E7b9/G# | 2 | 7.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 3 |
| E7b9/G# -> Am7 | Resolution (Minor) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Secondary Dominant (III7): The E7 chord functions as a chromatic lift, creating a “sunny” tension that resolves to either the IV (Fmaj7) or the relative minor (Am7).
- Chromatic Bass Motion: The progression C6 – E7/G# – Am7 utilizes a G–G#–A ascending line, providing a smooth melodic bridge between the tonic and submediant.
- Subdominant Modulation: The bridge pivots to F major using a ii-V7 (Gm7–C7), followed by a secondary dominant (D7) to return to the primary key via G7.
Improvisation Focus Chord-tone targeting over secondary dominants (E7, D7, C7) within the C major scale framework.
Difficulty Rating 2/5: The AABA structure and clear functional harmony make it an ideal entry point for learning secondary dominants and basic modulations.
📚 Standard Available in:
The Real Book - Volume II
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