Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cm7 | 7 | 21.9% |
| F7 | 5 | 15.6% |
| G7b9 | 4 | 12.5% |
| Ebmaj7 | 3 | 9.4% |
| Bbmaj7 | 2 | 6.2% |
| D7#5 | 2 | 6.2% |
| Dm7 | 2 | 6.2% |
| C#07 | 2 | 6.2% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7 | Setup (Major Key) | 5 |
| G7b9 -> Cm7 | Resolution (Minor) | 4 |
| Cm7 -> G7b9 | Setup (Major Key) | 2 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 1 |
| G7 -> Cm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Tonicization of the subdominant ($Ebmaj7$) and supertonic ($Cm7$) via secondary dominants ($D7^{#5}$ and $G7^{b9}$) drives the primary harmonic narrative.
- Chromatic passing motion through the $C#^{\circ}7$ chord functions as a $VI7$ substitute, creating a smooth linear descent from $Dm7$ to $Cm7$.
- The progression utilizes a “side-slipping” resolution where altered dominants resolve up a half-step or down a fifth, demanding precise voice-leading of the 3rds and 7ths.
Improvisation Focus Mastering Altered Dominant scales (Super Locrian) to navigate the tension and release of the secondary dominant cycles.
Difficulty Rating 3/5: The 3/4 waltz meter and frequent secondary dominant resolutions require a solid grasp of harmonic targeting and chromatic voice-leading.
📚 Standard Available in:
The Real Book - Volume I
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