I'd like comments on my analysis: Chord changes (from where the melody begins): | Gm7 | A7+5 | Dm7 | Cm7 - F7 | Bbmaj7 | | A7+5 | Dm7 | E7+9+5 | Am7 | Dm7 | Here's how I would analyze them: Bar 1-3: | Gm7 | A7+5 | Dm7 | iv-V- i progression in D minor. F# melodic minor over the dominant chord, and G and D dorian scales respectively over the minor 7th chords? Bar 4-5: | Cm7 - F7 | Bbmaj7 | ii-V-I progression in Bb major. Easiest option would be to stick to Bb major scale for the whole progression. Gb melodic minor over the F7 could be an option to explore for added tension-and-release, (alternatively the F half-whole diminished). Bar 6-7: | A7+5 | Dm7 | V-i in D minor. Same as bar 2-3. Bar 8-9: | E7+9+5 | Am7 | V-i in A minor. F melodic minor over the dominant chord, resolving to A dorian. Bar 10: | Dm7 | An intermediate chord linking the Am7 in bar 9 with the Gm7 in bar 1. It has a vague quality that is hard to express functionally (I don't really hear it as either subdominant, dominant or tonic). I'd love to get suggestions for how to get really deep into the harmony of Blue in Green, especially from players who have worked extensively on the tune. Even if you mainly comp while playing it, I'd be very interested in learning more about your approach (big chords or just outlines of the harmony).