Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 6 | 18.8% |
| Eb7 | 4 | 12.5% |
| G7 | 3 | 9.4% |
| Am7 | 3 | 9.4% |
| F7 | 2 | 6.2% |
| Bbmaj7 | 2 | 6.2% |
| Dm7 | 2 | 6.2% |
| Bm7b5 | 2 | 6.2% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| F7 -> Bbmaj7 | Resolution (Major) | 2 |
| Bbmaj7 -> Eb7 | Setup (Major Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Bm7b5 -> E7b9 | Setup (Minor Key) | 1 |
| E7b9 -> Am7 | Resolution (Minor) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression employs the bVII7 (Eb7) as a “backdoor dominant,” acting as a substitute for the minor plagal cadence or resolving directly back to Fmaj7.
- A temporary modulation to the iii chord (Am7) is achieved through a localized minor ii-V-i (Bm7b5 - E7b9 - Am7), requiring a shift to A harmonic minor or Phrygian dominant colors.
- The use of Secondary Dominants, such as G7 (V/V) and D7 (V/ii), creates a strong circle-of-fifths pull that provides chromatic interest within the diatonic framework.
- Frequent I-VI-ii-V turnarounds (Fmaj7 - Dm7 - Gm7 - C7) anchor the form, providing a stable tonal center between more complex chromatic shifts.
Improvisation Focus Voice-leading through Secondary Dominants, specifically targeting the flat-7 of the Eb7 and the sharp-5/flat-9 alterations on the E7b9.
Difficulty Rating 3 (Intermediate): The tune is mostly diatonic but requires precise navigation of the backdoor dominant and the minor ii-V-i bridge.
📚 Standard Available in:
The Real Book - Volume IV
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