Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Am7 | 9 | 18.4% |
| Gmaj7 | 5 | 10.2% |
| D7 | 5 | 10.2% |
| Bm7 | 4 | 8.2% |
| Bb07 | 4 | 8.2% |
| Em7 | 4 | 8.2% |
| A7 | 3 | 6.1% |
| C7 | 2 | 4.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 5 |
| Em7 -> A7 | Setup (Major Key) | 3 |
| Gmaj7 -> C7 | Setup (Major Key) | 2 |
| Am7 -> D7sus | Setup (Major Key) | 2 |
| D7sus -> Gmaj7 | Resolution (Major) | 2 |
| Bm7 -> E7 | Setup (Major Key) | 2 |
| E7 -> Am7 | Resolution (Minor) | 2 |
| F#m7 -> B7 | Setup (Major Key) | 2 |
| B7 -> Em7 | Resolution (Minor) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
πΌ Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Employs a chromatic descending passing diminished chord (Bm7 β BbΒΊ7 β Am7) to create smooth voice leading between the iii and ii chords.
- Features a distinctive I β IV7 (Gmaj7 β C7) movement in the A section, introducing a bluesy Mixolydian color rather than a standard diatonic IV.
- The bridge shifts the tonal center to the relative minor (E minor) via a ii-V-i (F#m7b5 β B7 β Em7), requiring a pivot in harmonic perspective.
- Utilizes secondary dominants (E7, A7) to reinforce cadences and provide strong directional motion toward the ii-V-I turnarounds.
Improvisation Focus G Major scale fluency with specific emphasis on E Harmonic Minor for the B7 dominant in the bridge.
Difficulty Rating 3/5. While the tempo is usually slow, the performer must navigate chromatic passing chords and a functional modulation to the relative minor.
π Standard Available in:
The Real Book - Volume VI
π Buy on AmazonAs an Amazon Associate I earn from qualifying purchases. Check the Hal Leonard Jazz Song Finder to make sure that the standard is indeed in the book before buying it.