Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm7 | 9 | 25.0% |
| G7 | 9 | 25.0% |
| Cmaj7 | 4 | 11.1% |
| C6 | 3 | 8.3% |
| A7b13 | 2 | 5.6% |
| F7 | 2 | 5.6% |
| Em7 | 2 | 5.6% |
| Eb07 | 2 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 9 |
| G7 -> Dm7 | Resolution (Minor) | 3 |
| A7b13 -> Dm7 | Resolution (Minor) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| Am7 -> D7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression utilizes a secondary dominant VI7 (A7b13) to create a chromatic bridge from the tonic (Cmaj7) to the supertonic (Dm7), establishing a sophisticated “long” ii-V feel.
- A chromatic passing diminished chord (Eb°7) functions as a bridge between the iii7 (Em7) and ii7 (Dm7), facilitating smooth linear voice leading.
- The inclusion of the IV7 (F7) provides a temporary modal mixture or blues-inflected subdominant sound, diverging from standard diatonic C major expectations.
- Repeated ii-V-I cycles (Dm7-G7-Cmaj7) reinforce the tonal center while accommodating the melody’s wide leaps and tensions.
Improvisation Focus Navigating secondary dominants (VI7) and diminished passing chords using the C Major Bebop scale and chord tone targeting.
Difficulty Rating 3/5: While the key center is accessible, the frequent use of non-diatonic passing chords and altered dominants requires a solid grasp of chromatic voice leading.
📚 Standard Available in:
The Real Book - Volume I
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