Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Em7 | 16 | 26.2% |
| D6 | 9 | 14.8% |
| Am7 | 4 | 6.6% |
| Gm7 | 4 | 6.6% |
| C7#11 | 4 | 6.6% |
| Bb7 | 4 | 6.6% |
| B7#5#9 | 3 | 4.9% |
| Eb7#11 | 2 | 3.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| B7#5#9 -> Em7 | Resolution (Minor) | 3 |
| Gm7 -> C7#11 | Setup (Major Key) | 3 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Bbmaj7 -> Eb7#11 | Setup (Major Key) | 1 |
| Bb7 -> Fm7 | Resolution (Minor) | 1 |
| Em7 -> A7#5#9 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The movement from B7#5#9 to Em7 functions as a V7/vi secondary dominant resolution, providing a sophisticated chromatic pull toward the minor submediant.
- Modal interchange is introduced via the Gm7 and Bbmaj7 sequence, momentarily shifting the tonal color from G major to the parallel G natural minor.
- The Eb7#11 serves as a bVI7 dominant substitute, creating a smooth chromatic descent toward the tonic or dominant areas.
- Standard ii-V-I progressions are embellished with suspended chords (A7sus, G7sus) and altered extensions (A13b9) to facilitate fluid voice leading.
Improvisation Focus The Altered Scale (Super Locrian) played over secondary dominants to highlight #5 and b9 tensions.
Difficulty Rating 3/5: The slow ballad tempo provides ample time for thought, but the performer must accurately navigate non-diatonic substitutions and specific altered dominant colors.
📚 Standard Available in:
The Real Book - Volume IV
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