Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 7 | 22.6% |
| C7 | 3 | 9.7% |
| Eb7 | 2 | 6.5% |
| Db7 | 2 | 6.5% |
| Am7 | 2 | 6.5% |
| Ab07 | 2 | 6.5% |
| Cm7 | 2 | 6.5% |
| F7 | 2 | 6.5% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7 | Setup (Major Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| C7 -> Fmaj7 | Resolution (Major) | 2 |
| F7 -> Cm7 | Resolution (Minor) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| Bbmaj7 -> F7#5 | Setup (Major Key) | 1 |
| F7#5 -> Bbmaj7 | Resolution (Major) | 1 |
| G7 -> Dm7 | Resolution (Minor) | 1 |
| Fmaj7 -> C7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Modal interchange via “backdoor” dominant chords (Eb7 and Db7) creates chromatic color against the Fmaj7 tonic, borrowing from the parallel minor key.
- The sequence Am7 – Ab°7 – Gm7 – C7 employs a chromatic passing diminished chord to facilitate smooth voice leading from the iii to the ii-V.
- The bridge shifts to the subdominant (Bbmaj7) and utilizes secondary dominants (Dm7-G7) to tonicize the relative minor’s V chord before returning to the home key.
Improvisation Focus Lydian Dominant scale (4th mode of Melodic Minor) to navigate the non-resolving Eb7 and Db7 chords.
Difficulty Rating 3/5. While usually performed as a ballad, the frequent use of non-diatonic dominant substitutions requires a solid understanding of modal interchange and chromatic voice leading.
đź“š Standard Available in:
The Real Book - Volume IV
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