Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Ebmaj7 | 7 | 18.9% |
| Bb7#5 | 4 | 10.8% |
| Db7 | 4 | 10.8% |
| C7 | 3 | 8.1% |
| F7 | 3 | 8.1% |
| Eb6 | 3 | 8.1% |
| Bb7 | 3 | 8.1% |
| D7#5 | 2 | 5.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Ebmaj7 -> Bb7#5 | Setup (Major Key) | 4 |
| Bb7#5 -> Ebmaj7 | Resolution (Major) | 4 |
| D7#5 -> Gm7b5 | Resolution (Minor) | 2 |
| Gm7b5 -> C7 | Setup (Minor Key) | 2 |
| Abm6 -> Db7 | Setup (Major Key) | 2 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 2 |
| Db7 -> Abm6 | Resolution (Minor) | 1 |
| Eb7 -> Abm6 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression utilizes altered dominants (Bb7#5, D7#5) to create chromatic tension and sophisticated voice-leading within the Eb major framework.
- A minor ii-V sequence (Gm7b5-C7) functions as a secondary dominant movement, typically targeting the ii (Fm7) or vi (Cm7).
- The inclusion of a “backdoor” resolution (Abm6 to Db7) provides a minor-plagal flavor that smoothly returns the harmony to the tonic Eb6.
- Secondary dominants like F7 and C7 facilitate brief excursions outside the primary key, expanding the harmonic palette.
Improvisation Focus Voice-leading via secondary dominants, specifically targeting the altered tensions (#5, b9) to navigate the frequent dominant-to-tonic transitions.
Difficulty Rating 3/5: The tune remains in Eb major but requires navigating several non-diatonic chords and specific altered extensions to sound authentic.
📚 Standard Available in:
The Real Book - Volume VI
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