Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 8 | 22.9% |
| Gm7 | 4 | 11.4% |
| C7 | 4 | 11.4% |
| D7b9 | 2 | 5.7% |
| Cm7 | 2 | 5.7% |
| F7 | 2 | 5.7% |
| Bbmaj7#11 | 2 | 5.7% |
| G7b9 | 2 | 5.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 4 |
| C7 -> Fmaj7 | Resolution (Major) | 3 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
| F7 -> Bbmaj7#11 | Resolution (Major) | 1 |
| G7b9 -> Cm7 | Resolution (Minor) | 1 |
| C7#9 -> Fmaj7 | Resolution (Major) | 1 |
| Em7b5 -> A7b9 | Setup (Minor Key) | 1 |
| D7#11 -> Gm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Utilization of secondary dominants (D7b9, G7b9) to create strong resolution paths toward the ii chord (Gm7) and the ii-V of the IV (Cm7-F7).
- A strategic modulation to the subdominant (Bbmaj7) via a pivot ii-V, mirroring the harmonic skeleton of the Gershwin contrafact “Strike Up the Band.”
- Frequent use of altered extensions (b9, #9, #11) which heightens the tension/release cycle within a standard AABA-derived framework.
Improvisation Focus Targeting guide tones (3rds and 7ths) to navigate the rapid secondary dominant transitions and chromatic voice leading.
Difficulty Rating 4/5: The combination of secondary dominants and the characteristically fast tempo of Lee Konitz compositions requires advanced facility with altered scales and melodic displacement.