Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Ebmaj7 | 5 | 17.9% |
| Fm7 | 4 | 14.3% |
| Bb7 | 4 | 14.3% |
| Eb7 | 3 | 10.7% |
| Abmaj7 | 2 | 7.1% |
| Db7#11 | 2 | 7.1% |
| Ab6 | 2 | 7.1% |
| A07 | 2 | 7.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 4 |
| Eb7 -> Abmaj7 | Resolution (Major) | 2 |
| Abmaj7 -> Db7#11 | Setup (Major Key) | 2 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 2 |
| C7b9 -> Fm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Secondary Dominance: The movement from Ebmaj7 to Eb7 (I to I7) creates a strong functional pull toward the IV chord (Abmaj7), typical of Ellington’s blues-influenced structures.
- Backdoor Dominant: The Db7#11 acts as a bVII7, providing a sophisticated chromatic alternative to a standard V/V resolution before landing on the ii-V.
- Chromatic Voice Leading: The Ab6 – Adim7 – Eb6/Bb sequence utilizes a #ivo7 passing chord to create smooth step-wise motion to the I chord over its fifth.
- Cyclical Resolution: The use of C7b9 (VI7) functions as a secondary dominant that reinforces the motion back to the ii chord (Fm7).
Improvisation Focus Eb Major Bebop scale, with specific emphasis on targeting chord tones during the chromatic Adim7 transitions.
Difficulty Rating 3/5: While the tempo is usually slow, the performer must navigate frequent secondary dominants and passing diminished chords with precise harmonic accuracy.
📚 Standard Available in:
The Real Book - Volume I
🛒 Buy on AmazonAs an Amazon Associate I earn from qualifying purchases. Check the Hal Leonard Jazz Song Finder to make sure that the standard is indeed in the book before buying it.