Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dmaj7 | 8 | 28.6% |
| Em7/D | 4 | 14.3% |
| Am7 | 3 | 10.7% |
| A7sus | 2 | 7.1% |
| Gmaj7 | 1 | 3.6% |
| A/G | 1 | 3.6% |
| Dmaj7/F# | 1 | 3.6% |
| F7#11 | 1 | 3.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| F7#11 -> Cmaj7/E | Resolution (Major) | 1 |
| F#m7 -> B7 | Setup (Major Key) | 1 |
| B7 -> Emaj7 | Resolution (Major) | 1 |
| A7 -> Dmaj7 | Resolution (Major) | 1 |
| Dmaj7 -> A7sus | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The oscillation between Dmaj7 and Em7/D creates a lush, Lydian-inflected IV-major environment, paying homage to Strayhorn’s signature use of upper-structure tensions.
- The progression utilizes rapid tonicization via ii-V sequences (F#m7-B7 to Emaj7) and chromatic planing (F7#11 to Cmaj7/E), requiring vertical precision across distant key centers.
- Tritone substitutions, such as Bb7 leading to A7sus, facilitate smooth bass voice-leading while providing the sophisticated, “darker” harmonic colors associated with the Billy Strayhorn influence.
Improvisation Focus D Lydian and melodic target-toning of extensions (9ths and #11s) to navigate shifting tonal centers.
Difficulty Rating 4/5: The non-functional modulations and constant slash-chord movements demand a high level of harmonic awareness and lyrical sensitivity from the soloist.
📚 Standard Available in:
The Real Book - Volume III
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