Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Am7 | 10 | 18.2% |
| D7 | 10 | 18.2% |
| Em7 | 7 | 12.7% |
| Gmaj7 | 5 | 9.1% |
| G7 | 3 | 5.5% |
| Bm7 | 3 | 5.5% |
| A7 | 3 | 5.5% |
| G6 | 2 | 3.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 10 |
| D7 -> Gmaj7 | Resolution (Major) | 3 |
| Bm7 -> E7 | Setup (Major Key) | 2 |
| Em7 -> A7 | Setup (Major Key) | 2 |
| D7 -> Am7 | Resolution (Minor) | 1 |
| Gmaj7 -> D7sus | Setup (Major Key) | 1 |
| D7sus -> Gmaj7 | Resolution (Major) | 1 |
| F#7b13 -> Bm7 | Resolution (Minor) | 1 |
| G7 -> Dm7 | Resolution (Minor) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| Bm7b5 -> E7b13 | Setup (Minor Key) | 1 |
| A7 -> Em7 | Resolution (Minor) | 1 |
| E7 -> Am7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The structure utilizes a repetitive I-vi-ii-V turnaround (Gmaj7-Em7-Am7-D7), creating the quintessential swing-era rhythmic momentum found in many Gershwin standards.
- The transition from Gmaj7 to G7 functions as a secondary dominant ($V^7/IV$), utilizing chromatic voice-leading (F# to F natural) to pull toward the subdominant.
- The inclusion of D7sus provides harmonic suspension, delaying the dominant resolution to Gmaj7 and adding a contemporary texture to the standard diatonic progression.
Improvisation Focus G Major Bebop Scale (essential for navigating the frequent I-vi-ii-V cycles while maintaining rhythmic alignment).
Difficulty Rating 2/5 — The predictable diatonic structure and reliance on standard turnarounds make it an accessible entry point for mastering functional jazz harmony.
📚 Standard Available in:
The Real Book - Volume V
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