Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Ebmaj7 | 4 | 9.3% |
| Db7 | 4 | 9.3% |
| C7 | 3 | 7.0% |
| F7 | 3 | 7.0% |
| Bb7 | 3 | 7.0% |
| Gm7 | 3 | 7.0% |
| Gm7b5 | 2 | 4.7% |
| C7b9 | 2 | 4.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7b5 -> C7b9 | Setup (Minor Key) | 2 |
| C7b9 -> Fm7 | Resolution (Minor) | 2 |
| Db7 -> Abm7 | Resolution (Minor) | 2 |
| Abm7 -> Db7 | Setup (Major Key) | 2 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| Cm7b5 -> F7 | Setup (Minor Key) | 1 |
| Fm7/Bb -> Bb07 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression features sophisticated tonicization of the ii chord (Fm7) through a minor ii-V (Gm7b5–C7b9), demonstrating Dameron’s penchant for minor-to-major transitions.
- Backdoor dominant movements (Abm7–Db7) and tritone substitutions (B7#9 to Bbmaj7) provide chromatic color while maintaining a strong sense of resolution.
- Extensive use of secondary dominants in a circle of fifths (G7–C7–F7–Bb7) creates a driving harmonic rhythm typical of the bebop era.
Improvisation Focus Navigating minor ii-V-I cells and applying the Altered Dominant scale over the frequent V7b9 chords to highlight extensions.
Difficulty Rating 4/5: The dense harmonic rhythm, frequent secondary dominants, and non-diatonic tritone substitutions require advanced melodic navigation and deep knowledge of functional harmony.
📚 Standard Available in:
The Real Book - Volume II
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