Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cmaj7 | 7 | 21.2% |
| Fmaj7 | 4 | 12.1% |
| G7 | 4 | 12.1% |
| Am7 | 3 | 9.1% |
| D7 | 3 | 9.1% |
| Em7 | 2 | 6.1% |
| A7 | 2 | 6.1% |
| Dm7 | 2 | 6.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| A7 -> Dm7 | Resolution (Minor) | 2 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| D7 -> Am7 | Resolution (Minor) | 1 |
| Cmaj7 -> G7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Secondary dominants such as A7 ($V^7/ii$) and D7 ($V^7/V$) provide chromatic motion and strong resolutions toward the ii and V chords.
- The minor subdominant (Fm6) acts as a modal interchange (iv), introducing the $Ab$ (b6) for a classic “sentimental” cadence back to the tonic.
- Tonicization of the IV chord via the Gm7-C7 ($ii-V/IV$) sequence temporarily shifts the tonal center to F major.
- The inclusion of Bbmaj7 functions as a bVII (subtonic) chord, providing a “backdoor” flavor common in swing-era standards.
Improvisation Focus C Major scale with targeted voice leading on the $Ab$ pitch over the Fm6 chord and $C#$ over the A7 chord.
Difficulty Rating 2/5: The progression relies on standard diatonic functions and common secondary dominants, making it an accessible study in functional jazz harmony.