Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dbmaj7 | 4 | 11.8% |
| Fm/maj7 | 2 | 5.9% |
| Abmaj7 | 2 | 5.9% |
| Db7sus | 2 | 5.9% |
| C7#9 | 2 | 5.9% |
| B13 | 2 | 5.9% |
| Bb7 | 2 | 5.9% |
| Ebm7 | 2 | 5.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bb7 -> Ebm7 | Resolution (Minor) | 2 |
| Gm7b5 -> C7b13 | Setup (Minor Key) | 1 |
| C7b13 -> Fm/maj7 | Resolution (Major) | 1 |
| Bbm7 -> Eb7b13 | Setup (Major Key) | 1 |
| Eb7b13 -> Abmaj7 | Resolution (Major) | 1 |
| Abm7 -> Db7 | Setup (Major Key) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Fm7b5 -> Bb7b9 | Setup (Minor Key) | 1 |
| Bb7b9 -> Ebmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Establishes F minor via ii-V-i (Gm7b5 - C7 - Fm/maj7), utilizing the tonic major-minor chord for a sophisticated, noir-inspired harmonic foundation.
- Navigates a cycle of fourths (Bbm7 - Eb7 - Abmaj7) to briefly touch the relative major before returning to chromatic tension.
- Employs “side-slipping” dominant structures (B13 to Bb7) and altered extensions (#9, b13) to facilitate bluesy, non-diatonic voice leading.
- Utilizes a Db7sus to C7#9 movement, highlighting Mingus’s use of tritone substitutions and sus-chord tension to delay resolution.
Improvisation Focus F Melodic Minor and its modes to navigate the tonic major-minor chords and altered dominant tensions.
Difficulty Rating 4/5. The density of chromatic dominant substitutions and the specific minor-key nuances require advanced harmonic knowledge and precise ear training.
📚 Standard Available in:
The Real Book - Volume I
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