Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| G7 | 4 | 12.1% |
| Cmaj7 | 3 | 9.1% |
| F7 | 3 | 9.1% |
| F#07 | 3 | 9.1% |
| B7#5 | 2 | 6.1% |
| Em7b5 | 2 | 6.1% |
| Dm7b5 | 2 | 6.1% |
| Gm7 | 2 | 6.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| B7#5 -> Em7b5 | Resolution (Minor) | 2 |
| Dm7b5 -> G7 | Setup (Minor Key) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| Em7b5 -> A7 | Setup (Minor Key) | 1 |
| A7 -> Dm7b5 | Resolution (Minor) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| Em7b5 -> A7b13 | Setup (Minor Key) | 1 |
| A7b13 -> Dm7b5 | Resolution (Minor) | 1 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent use of sequential minor ii-V progressions (Em7b5–A7 and Dm7b5–G7) creates a dark, chromatic contrast against the C major tonic.
- The B7#5 functions as a secondary dominant (V/iii), initiating a cycle of fourths that bridges the tonic to the supertonic.
- The F7 to F#o7 to C6/G sequence employs a classic blues-based “IV to #ivo7” passing motion, providing smooth chromatic ascending voice leading (F–F#–G) in the bass.
- Brief tonicization of the subdominant (IV) occurs via a Gm7–C7 turnaround, typical of the Kansas City jazz-blues influence.
Improvisation Focus Navigating minor ii-V-I cells using the Harmonic Minor and Altered scales to resolve chromatic tensions (b9, #5, b13) accurately into the next chord.
Difficulty Rating 3/5: The moderate tempo is forgiving, but the constant shift between major and minor tonal centers requires advanced linear awareness.
📚 Standard Available in:
The Real Book - Volume III
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