Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm7 | 4 | 11.4% |
| Em7 | 3 | 8.6% |
| Am7 | 3 | 8.6% |
| Fmaj7#11 | 2 | 5.7% |
| B7#9 | 2 | 5.7% |
| G7 | 2 | 5.7% |
| Gm7 | 2 | 5.7% |
| C7 | 2 | 5.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| B7#9 -> Em7 | Resolution (Minor) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| Bm7b5 -> E7b13 | Setup (Minor Key) | 1 |
| E7b13 -> Am7 | Resolution (Minor) | 1 |
| C7 -> Fmaj7#11 | Resolution (Major) | 1 |
| A7 -> Dm7 | Resolution (Minor) | 1 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
| Em7 -> A7b9 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression utilizes a sophisticated opening IVmaj7 to VII7#9 to iii7 (Fmaj7#11–B7#9–Em7), where the B7 functions as a secondary dominant (V/iii) to the mediant.
- Frequent minor ii-V-i cells (Bm7b5–E7b13–Am7) pull the tonality toward the relative minor, requiring a shift to A harmonic minor.
- The use of secondary ii-V patterns (Gm7–C7) tonicizes the subdominant (Fmaj7), adding harmonic depth beyond simple C major diatonicism.
- Inversions and descending bass lines (Am7/E to Dm7/C) create smooth scalar voice leading through the bridge and transitions.
Improvisation Focus Navigating the frequent shifts between C major and A melodic/harmonic minor over the minor ii-V-i progressions.
Difficulty Rating 3 (Intermediate). The song is mostly diatonic but requires fluid navigation of secondary dominants and minor-key turnarounds that temporarily deviate from the home key.
📚 Standard Available in:
The Real Book - Volume I
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