Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm11 | 4 | 5.3% |
| G7b9sus | 4 | 5.3% |
| Cmaj7/G | 4 | 5.3% |
| G13sus | 4 | 5.3% |
| Em7 | 3 | 4.0% |
| A7alt | 3 | 4.0% |
| Am7 | 3 | 4.0% |
| F07/C | 2 | 2.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| A7alt -> Dm11 | Resolution (Minor) | 3 |
| Dm11 -> G7b9sus | Setup (Major Key) | 3 |
| Em7 -> A7alt | Setup (Major Key) | 2 |
| Fm11 -> Bb7b9sus | Setup (Major Key) | 2 |
| Gm7 -> C7b5b9 | Setup (Major Key) | 1 |
| C7b5b9 -> Fm11 | Resolution (Minor) | 1 |
| Am11 -> D7b5b9 | Setup (Major Key) | 1 |
| D7b5b9 -> Gmaj7/D | Resolution (Major) | 1 |
| B7 -> Emaj7#5 | Resolution (Major) | 1 |
| E7 -> Amaj7 | Resolution (Major) | 1 |
| F#m7 -> B7#5#9 | Setup (Major Key) | 1 |
| G7 -> Cmaj7/G | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Extensive use of 7sus(b9) voicings (G7b9sus, Bb7b9sus) creates a signature “shimmering” Phrygian-dominant texture that avoids traditional V-I tension.
- Chromatic “side-slipping” ii-V cells, such as moving from Dm11 to Bbm7-Eb9, displace the tonal center and challenge functional G major expectations.
- The harmonic rhythm relies on non-resolving sequences, where dominant structures often lead to another ii-V rather than a stable tonic.
- Use of diminished passing chords (F#o7/C) functions as a pivot to bridge the gap between subdominant and tonic-parallel areas.
Improvisation Focus The Phrygian Dominant (Mixolydian b2 b6) scale is the essential tool for navigating the specific color of the recurring 7sus(b9) chords.
Difficulty Rating 4/5: The rapid, non-functional modulations and specific “sus-tension” requirements demand advanced modal fluency and sophisticated linear voice leading.
📚 Standard Available in:
The Real Pop Book - Volume 1
🛒 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.