Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| G7 | 11 | 22.9% |
| Dm7 | 10 | 20.8% |
| D7 | 6 | 12.5% |
| A7 | 4 | 8.3% |
| Em7 | 3 | 6.2% |
| Eb07 | 3 | 6.2% |
| C6 | 3 | 6.2% |
| Cmaj7 | 2 | 4.2% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 10 |
| G7 -> Dm7 | Resolution (Minor) | 5 |
| Cmaj7 -> F7#11 | Setup (Major Key) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Chromatic passing motion: The use of Eb°7 acts as a bridge between the iii (Em7) and ii (Dm7), providing smooth voice-leading through a diminished substitution.
- Lydian Dominant Color: The F7#11 functions as a non-resolving IV7, adding a sophisticated subdominant color common in swing-era standards.
- Extended Secondary Dominants: The progression utilizes a “chain of dominants” (A7-D7-G7) to navigate back to the tonic, requiring navigation of the circle of fifths.
- Functional II-V-I Cadences: Frequent Dm7-G7 sequences reinforce the C major tonal center, contrasting with the initial D minor modal implications.
Improvisation Focus Chord Tone Targeting: Specifically focusing on the 3rds and 7ths to navigate the descending chromaticisms and the circle-of-fifths dominant chains.
Difficulty Rating 2/5: The harmonic structure is largely diatonic with predictable chromatic transitions and standard II-V resolutions, making it highly accessible for intermediate improvisers.