Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| E7 | 8 | 14.0% |
| D7 | 7 | 12.3% |
| Am7 | 6 | 10.5% |
| C7 | 5 | 8.8% |
| G6 | 3 | 5.3% |
| Fmaj7 | 3 | 5.3% |
| F7 | 2 | 3.5% |
| B7/D# | 2 | 3.5% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| E7 -> Am7 | Resolution (Minor) | 4 |
| Am7 -> D7 | Setup (Major Key) | 4 |
| B7/D# -> Em7 | Resolution (Minor) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| C7 -> Fmaj7 | Resolution (Major) | 2 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Extensive use of secondary dominants (E7-A7-D7-G7) creating a “Circle of Fifths” chain that provides strong forward momentum toward the tonic.
- Frequent use of chromatic passing chords and tritone substitutions, specifically the Em7-Eb7-Dm7-G7 sequence, which creates smooth voice-leading between the mediant and supertonic.
- Functional application of the IV7 (F7) as a “backdoor” dominant or blues-inflected subdominant, adding harmonic color to the otherwise diatonic C major landscape.
Improvisation Focus Targeting the 3rds and 7ths of secondary dominants to highlight rapid chromatic shifts within the AABA structure.
Difficulty Rating 3/5. The relaxed swing tempo is approachable, but the constant stream of non-diatonic dominant chords requires precise harmonic targeting and melodic fluidity.
📚 Standard Available in:
The Real Book - Volume V
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