Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 8 | 18.2% |
| Ebmaj7 | 6 | 13.6% |
| Bb7 | 5 | 11.4% |
| Gm7 | 4 | 9.1% |
| Abmaj7 | 4 | 9.1% |
| Bbm7 | 2 | 4.5% |
| Eb7 | 2 | 4.5% |
| Cm7 | 2 | 4.5% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 5 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 3 |
| Bbm7 -> Eb7 | Setup (Major Key) | 2 |
| Eb7 -> Abmaj7 | Resolution (Major) | 2 |
| Am7b5 -> D7#9 | Setup (Minor Key) | 1 |
| D7#9 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fm7 | Resolution (Minor) | 1 |
| Dm7b5 -> G7b9 | Setup (Minor Key) | 1 |
| G7b9 -> Cm7 | Resolution (Minor) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent use of secondary ii-V progressions, specifically the Bbm7–Eb7 sequence which tonicizes the IV chord (Abmaj7).
- Integration of a minor ii-V-i (Am7b5–D7#9–Gm7) to target the iii chord, providing a dark, functional contrast to the Eb major tonality.
- Chromatic passing motion via the F#°7 chord, facilitating a smooth linear transition between the ii (Fm7) and iii (Gm7) scale degrees.
- Reliance on the cycle of fourths and diatonic step-wise bass lines characteristic of sophisticated Newley-Bricusse compositions.
Improvisation Focus Voice leading through secondary dominants and minor turnarounds.
Difficulty Rating 3/5; the progression is largely diatonic but requires the soloist to navigate rapid secondary ii-Vs and a pivot to the relative minor key.
📚 Standard Available in:
The Real Book - Volume II
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