Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| G7 | 6 | 15.0% |
| Em7 | 5 | 12.5% |
| A7 | 5 | 12.5% |
| Dm7 | 4 | 10.0% |
| Am7 | 4 | 10.0% |
| D7 | 4 | 10.0% |
| Abm7 | 2 | 5.0% |
| Db7 | 2 | 5.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Em7 -> A7 | Setup (Major Key) | 5 |
| Dm7 -> G7 | Setup (Major Key) | 4 |
| Am7 -> D7 | Setup (Major Key) | 4 |
| G7 -> Dm7 | Resolution (Minor) | 3 |
| A7 -> Em7 | Resolution (Minor) | 2 |
| Abm7 -> Db7 | Setup (Major Key) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| D7 -> Am7 | Resolution (Minor) | 1 |
| Cmaj7 -> F7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Sequential ii-V7 cells form the structural foundation, notably the step-wise transposition from [Dm7 - G7] to [Em7 - A7] (ii-V of I to ii-V of vi).
- The bridge utilizes chromatic side-slipping, transitioning from the IV chord (Fmaj7) through an Abm7 - Db7 sequence to reach the ii-V of IV (Gm7 - C7).
- Frequent use of secondary dominants and the “Cycle of Fourths” creates continuous forward motion, maintaining harmonic tension until the final resolution to C major.
Improvisation Focus Voice leading through ii-V cells by targeting the resolution of the minor 7th (of the iim7) to the major 3rd (of the V7).
Difficulty Rating 2; the repetitive and predictable ii-V patterns provide an accessible framework for beginners to practice essential jazz vocabulary and harmonic navigation.
📚 Standard Available in:
The Real Book - Volume I
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