Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| A7 | 7 | 20.6% |
| D7 | 6 | 17.6% |
| C#m7 | 4 | 11.8% |
| F#7b9 | 3 | 8.8% |
| Bm7 | 3 | 8.8% |
| Em7 | 2 | 5.9% |
| A7#5 | 2 | 5.9% |
| E7#9 | 2 | 5.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| A7 -> Em7 | Resolution (Minor) | 2 |
| Em7 -> A7#5 | Setup (Major Key) | 2 |
| C#m7 -> F#7b9 | Setup (Major Key) | 2 |
| F#7b9 -> Bm7 | Resolution (Minor) | 2 |
| Bm7 -> E7#9 | Setup (Major Key) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The structure is a sophisticated 12-bar blues in A that utilizes a ii-V cell (Em7 - A7#5) to tonicize the arrival of the IV chord (D7).
- Functional harmony is expanded via a secondary dominant (F#7b9), acting as a V/ii to strengthen the resolution to Bm7.
- A chromatic descending sequence (C#m7 - Cm7 - Bm7) creates melodic movement through the turnaround, bypassing standard functional cycles.
- The use of altered dominants, specifically A7#5 and E7#9, injects “hard bop” tension into the traditional blues framework.
Improvisation Focus A Mixolydian and A Minor Blues scales, transitioning to chord-specific arpeggios during the chromatic ii-V-I sequences.
Difficulty Rating 3/5 (Intermediate); while the 12-bar blues form is foundational, the rapid chromatic substitutions and altered dominant extensions require advanced harmonic awareness.
📚 Standard Available in:
The Real Pop Book - Volume 1
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