Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bb7 | 6 | 19.4% |
| Fm7 | 5 | 16.1% |
| Ebmaj7 | 3 | 9.7% |
| Bb7sus | 3 | 9.7% |
| Eb7 | 2 | 6.5% |
| Ab7 | 1 | 3.2% |
| Gm7 | 1 | 3.2% |
| C7 | 1 | 3.2% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 5 |
| Ebmaj7 -> Bb7sus | Setup (Major Key) | 3 |
| Bb7 -> Fm7 | Resolution (Minor) | 3 |
| Bb7sus -> Ebmaj7 | Resolution (Major) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fm7 | Resolution (Minor) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Eb7 -> Abmaj7 | Resolution (Major) | 1 |
| Abmaj7 -> Db7 | Setup (Major Key) | 1 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 1 |
| C7b9 -> Fm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The opening I-V7sus movement (Ebmaj7-Bb7sus) establishes a lyrical quality by softening the dominant-to-tonic resolution and delaying the leading tone.
- A iii-VI-ii-V sequence (Gm7-C7-Fm7-Bb7) utilizes the secondary dominant C7 to create a strong pull toward the supertonic (Fm7).
- The progression incorporates a V7/IV (Eb7 to Ab7), introducing Mixolydian color and a blues-inflected transition to the subdominant.
- A definitive modulation to the dominant key (Bb major) occurs via a ii-V-I (Cm7-F7-Bbmaj7), providing the necessary tonal contrast for the bridge.
Improvisation Focus Navigating sequential ii-V-I progressions and targeting the 3rds and 7ths to define the shifting harmonic centers.
Difficulty Rating 2/5: The piece relies on standard functional harmony and predictable jazz cadences, making it highly accessible for intermediate improvisers.
📚 Standard Available in:
The Real Book - Volume VI
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