Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bb7 | 5 | 14.7% |
| Cmaj7 | 4 | 11.8% |
| Fm7 | 4 | 11.8% |
| Dm7 | 4 | 11.8% |
| G7 | 4 | 11.8% |
| Em7 | 3 | 8.8% |
| A7 | 3 | 8.8% |
| C6 | 2 | 5.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 4 |
| Dm7 -> G7 | Setup (Major Key) | 4 |
| Em7 -> A7 | Setup (Major Key) | 3 |
| A7 -> Dm7 | Resolution (Minor) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The “backdoor” ii-V progression (Fm7-Bb7) creates a subdominant minor pull, resolving chromatically back to the Cmaj7 tonic.
- Sequential iii-VI-ii-V motion (Em7-A7-Dm7-G7) provides a strong diatonic cycle of fourths, utilizing secondary dominants to drive the harmony.
- Tonicization of the subdominant (Fmaj7) via a secondary ii-V (Gm7-C7) expands the harmonic palette beyond the primary key center.
- Use of the V of V (D7) before the final cadence adds a classical “half-cadence” tension before returning to the ii-V-I.
Improvisation Focus Mastering the C Major scale while strictly targeting the Ab and Bb altered tones during the Fm7-Bb7 sequences to highlight the modal interchange.
Difficulty Rating 2/5 — The piece relies on standard functional harmony and common jazz turnarounds, making it accessible for intermediate players to navigate.
📚 Standard Available in:
The Real Book - Volume II
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