Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cmaj7 | 6 | 15.4% |
| Gmaj7 | 4 | 10.3% |
| Bb07 | 4 | 10.3% |
| Em7 | 4 | 10.3% |
| A7 | 4 | 10.3% |
| Am7 | 4 | 10.3% |
| D7 | 4 | 10.3% |
| Fmaj7 | 2 | 5.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Em7 -> A7 | Setup (Major Key) | 4 |
| Am7 -> D7 | Setup (Major Key) | 3 |
| Cmaj7 -> F7 | Setup (Major Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
| Fmaj7 -> Bb7#11 | Setup (Major Key) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression utilizes Bb°7 as a chromatic passing chord between Gmaj7 and Cmaj7, creating smooth voice-leading tension that resolves into the tonic area.
- Modal interchange is prominent in the Fmaj7 to Fm7 (IV-iv) sequence, introducing a “subdominant minor” color characteristic of the ballad style.
- The use of A7 as a secondary dominant (VI7) creates a strong directional pull toward the ii chord (Dm7) or Am7, enriching the standard C major diatonicism.
- A secondary ii-V-I sequence (Am7-D7-Gmaj7) briefly tonicizes the dominant, providing a temporary shift in tonal center before returning to the home key.
Improvisation Focus
- Chord tone soloing emphasizing the 3rds and 7ths to navigate the frequent secondary dominants and chromatic transitions.
Difficulty Rating
- 2/5. The predictable harmonic rhythm and clear functional resolutions make it an ideal entry point for studying secondary dominants and modal interchange.
📚 Standard Available in:
The Real Book - Volume III
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