Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7/C | 8 | 28.6% |
| Dm7 | 4 | 14.3% |
| G7 | 4 | 14.3% |
| Gm7/Bb | 4 | 14.3% |
| F/C | 4 | 14.3% |
| Dbm7 | 4 | 14.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 4 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The primary A-section utilizes a vi – II7 – ii – I progression in F major, where the G7 acts as a secondary dominant (V/V), adding a bright, Lydian-inflected color to the diatonic landscape.
- Slash chords such as Gm7/Bb and F/C emphasize a smooth, stepwise bass motion, creating a gospel-influenced “pedal” feel that stabilizes the cyclical harmony.
- The sudden shift to Dbm7 introduces a chromatic “side-slipping” modulation, momentarily abandoning the F major tonality for a distant, non-functional modal center.
Improvisation Focus Pentatonic shifting and quartal patterns (specifically moving between F major and Db Dorian).
Difficulty Rating 3/5; the repetitive main loop is straightforward, but navigating the abrupt chromatic transitions and Tyner’s signature quartal voicings requires intermediate modal agility.
đź“š Standard Available in:
The Real Book - Volume VI
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