Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Ebmaj7 | 8 | 21.1% |
| Fm7 | 5 | 13.2% |
| Bb7 | 5 | 13.2% |
| Bbm7 | 3 | 7.9% |
| Eb7 | 3 | 7.9% |
| Abmaj7 | 3 | 7.9% |
| E07 | 2 | 5.3% |
| A07 | 2 | 5.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 5 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 4 |
| Bbm7 -> Eb7 | Setup (Major Key) | 2 |
| Eb7 -> Abmaj7 | Resolution (Major) | 2 |
| Dm7b5 -> G7b9 | Setup (Minor Key) | 1 |
| G7b9 -> Cm7 | Resolution (Minor) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 1 |
| C7b9 -> Fm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The #I°7 (E°7) serves as a chromatic passing chord connecting the tonic Ebmaj7 to the ii7 (Fm7), a classic Gershwin device for smooth bass motion.
- Secondary ii-V7 sequences (Bbm7–Eb7) facilitate a brief tonicization of the subdominant key area (Abmaj7).
- The #IV°7 (A°7) provides a chromatic bridge back to the subdominant or its related minor ii7, requiring precise linear voice leading.
Improvisation Focus Eb Major Bebop Scale (leveraging the chromatic passing tones to navigate the I–#I°7–ii7 movement).
Difficulty Rating 3 (Intermediate) because while the changes are functionally standard, the typically fast “march” tempo requires quick navigation of chromatic connectors and secondary dominants.
📚 Standard Available in:
The Real Book - Volume V
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