Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Ab7#11 | 4 | 20.0% |
| Ebmaj7 | 2 | 10.0% |
| A9 | 2 | 10.0% |
| Db7 | 1 | 5.0% |
| Eb7 | 1 | 5.0% |
| Ab7 | 1 | 5.0% |
| D7b5 | 1 | 5.0% |
| Dbm7 | 1 | 5.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Ebmaj7 -> Ab7#11 | Setup (Major Key) | 1 |
| Dbm7 -> Gb7 | Setup (Major Key) | 1 |
| Fm7b5 -> Bb7b5 | Setup (Minor Key) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Utilizes a highly modified blues structure that replaces functional tonic-dominant resolutions with “side-slipping” II-V chains (e.g., Bm7-E7 transitioning to Ab7#11).
- Employs Ab7#11 as a stable, non-resolving tonic color, characteristic of Dolphy’s post-bop and avant-garde vocabulary.
- Features frequent “back-door” resolutions and tritone substitutions, such as the D7b5 moving to Ebmaj7 and the Dbm7-Gb7 sequence.
- Blurs the lines between Ab major and Ab Mixolydian through the constant interplay of Ebmaj7 and dominant-structured extensions.
Improvisation Focus Ab Lydian Dominant (Ab-Bb-C-D-Eb-F-Gb) to capture the signature #11 sound while navigating the chromatic shifts.
Difficulty Rating 4/5 – The non-diatonic II-V insertions and the angular nature of the dominant extensions require advanced modal fluency and precise melodic targeting.
đź“š Standard Available in:
The Real Book - Volume II
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