Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 11 | 25.6% |
| Gm7 | 6 | 14.0% |
| Bb7 | 5 | 11.6% |
| Ebmaj7 | 4 | 9.3% |
| C7 | 3 | 7.0% |
| Abm7 | 1 | 2.3% |
| Db7 | 1 | 2.3% |
| Gbmaj7 | 1 | 2.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 4 |
| Gm7 -> C7 | Setup (Major Key) | 3 |
| C7 -> Fm7 | Resolution (Minor) | 3 |
| Abm7 -> Db7 | Setup (Major Key) | 1 |
| Db7 -> Gbmaj7 | Resolution (Major) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
| E7 -> Amaj7 | Resolution (Major) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| Fm7 -> Bb7b9 | Setup (Major Key) | 1 |
| Bb7b9 -> Ebmaj7 | Resolution (Major) | 1 |
| Gm7 -> C7#9 | Setup (Major Key) | 1 |
| C7#9 -> Fm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The “A” section features stepwise diatonic motion (I-ii-iii-ii), creating a smooth, melodic bassline typical of Benny Carter’s elegant arranging style.
- The bridge utilizes a sophisticated modulation sequence, moving through Gb, A, and C major via ii-V-I units, descending in minor thirds back to the home key of Eb.
- Extensive use of secondary dominants, specifically the VI7 (C7) leading to the ii7 (Fm7), reinforces the cycle of fifths within the primary tonal center.
Improvisation Focus Navigating sequential ii-V-I patterns across rapidly shifting tonal centers.
Difficulty Rating 3/5 because the diatonic “A” sections are straightforward, but the bridge’s frequent modulations into distant keys require advanced harmonic mapping and transposition skills.
📚 Standard Available in:
The Real Book - Volume II
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