Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bb7 | 6 | 18.2% |
| Eb6 | 4 | 12.1% |
| Fm7 | 4 | 12.1% |
| F7 | 4 | 12.1% |
| Gm7 | 2 | 6.1% |
| C7 | 2 | 6.1% |
| Gm7b5 | 2 | 6.1% |
| C7b9 | 2 | 6.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 4 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| C7 -> Fm7 | Resolution (Minor) | 2 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 2 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Eb7 -> Abmaj7 | Resolution (Major) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression follows a classic I-iii-VI-ii-V cycle (Eb6-Gm7-C7-Fm7-Bb7), characteristic of the 32-bar ballad form.
- Uses a minor ii-V (Gm7b5-C7b9) to resolve into the ii chord (Fm7), creating a momentary shift toward the parallel minor functional area.
- Tonicization of the IV chord (Abmaj7) is achieved through a secondary ii-V (Bbm7-Eb7) in the B section.
- The turnaround utilizes chromatic alterations like the C7#5 to provide smooth voice-leading tension back to the F7 and Bb7 dominant pillars.
Improvisation Focus Fluent navigation of ii-V-I cells using Eb major and chord-tone targeting on the frequent secondary dominants.
Difficulty Rating 2/5. The harmony is largely diatonic and follows standard jazz vocabulary with predictable resolutions, making it highly accessible for intermediate soloists.
📚 Standard Available in:
The Real Book - Volume I
🛒 Buy on AmazonAs an Amazon Associate I earn from qualifying purchases. Check the Hal Leonard Jazz Song Finder to make sure that the standard is indeed in the book before buying it.