Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cm7/F | 6 | 16.7% |
| Bbmaj7/F | 4 | 11.1% |
| Dm7/F | 4 | 11.1% |
| Fm7 | 2 | 5.6% |
| Bb7 | 2 | 5.6% |
| Ebmaj7 | 2 | 5.6% |
| Em7b5 | 2 | 5.6% |
| A7b9 | 2 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 2 |
| Em7b5 -> A7b9 | Setup (Minor Key) | 2 |
| A7b9 -> Dm7 | Resolution (Minor) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| C#m7 -> F#7 | Setup (Major Key) | 1 |
| F7 -> Bbmaj7/F | Resolution (Major) | 1 |
| G7 -> Cm7 | Resolution (Minor) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The A section utilizes a static F pedal point, cycling Bbmaj7, Cm7, and Dm7 over a dominant bass to create a suspended, gospel-inflected “soul-jazz” tension.
- The bridge sequences rapid-fire ii-V progressions targeting Ebmaj7 (IV) and Dm7 (iii) before using a secondary dominant (G7) to pull toward the ii.
- Chromatic side-stepping occurs via the C#m7-F#7 progression, serving as a non-diatonic parallel approach to the final Cm7-F7 turnaround.
Improvisation Focus Linear ii-V voice leading to navigate shifting tonal centers at high tempos.
Difficulty Rating 4/5 because the bridge demands high-level harmonic accuracy and rapid mental shifting while the A sections require sophisticated melodic development over static harmony.
📚 Standard Available in:
The Real Book - Volume II
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