The sequence of two chords at the end of the progression Fmi7 leading to Bb7 will finally lead you back to the EbMA7s at the beginning of the A (bars 1 thru 16) and A' (bars 17 thru 32) sections. In the first repeat, Fmi7 appears in bar 15 and B7 appears in bar 16. In the second repeat, both of these chords are compressed into bar 32
	The first two bars of the sequence are EbMA7. These chords are the home base of this progression. You will leave home in bar 3 and you're ear will spend the rest of the progression being teased as the progression nearly comes home a number of times but then veers away.
	The chords of bars 3 and 4 are Ebmi7 and Ab7. When your ear hears the transition from EbMA7 to Ebmi7, you'll probably experience a falling sensation, because the pitches G and D in EbMA7 both fall a half step to Gb and Db in Ebmi7 while the pitches Eb and Bb are played the same in both chords.
	Your ear is lead in a new direction by the Ebmi7 and Ab7. These are the first two chords of a ii-V-I chord cliche in the key of Db Major
	If the composer was going to complete the cliche, the chord that appears in bar 5 should have been DbMA7. In this instance, the progression takes a turn in a mildly suprising direction and ends up on Fmi7.
	Fmi7 is not a total suprise because the chord is a very strong relative of DbMA7. These two chords share three of their four pitches.
	The Fmi7, also, has a double meaning, because it's also a very close relative of the EbMA7 that began the piece.
	Because your ears are very used to hearing minor chords as the beginning of a ii-V-I cliche, it's probably mildly suprising to hear that the Fmi7 is held for another bar in bar 6 instead of immediately proceeding to Bb 7.
	Also, holding the Fmi7 for two bars alerts your ear that this chord somehow has equal importance with the EbMA7 we started with. It's increased duration is marking it as having special significance. What is that? We won't know till we've listened farther.
	Bar 7 is a Abmi7 and bar 8 is a Db7. This is the beginning of a ii-V-I cliche that should end with a GbMA7. Is a GbMA7 played in bar 9? No ma'am., it's a Gmi7.
	Why does Abmi7-Db7-Gmi7 work? Two reasons. First, three notes of Db7 slide easily up or down into pitches of Gmi7 while the fourth is left alone.
	Second reason, it's been a frequently heard harmonic move in many other pieces of music to play sequences of ii-V patterns moving down by half step. Your ear is somewhat primed to hear Abmi7-Db7-Gmi7-C7-F#mi7-B7-Fmi7-Bb7 in succession as far as the composer may wish to carry the pattern.
	Is bar 10 the expected C7, that we would get from a sequence of iimi7-V7 units sliding down by half step, when the last chord was Gmi7? It's not, it's F#mi7 followed by B7 in the second half of the bar. It's as though the C7 was skipped after G7 in the sequence and we continued to the next chord pair that we would expect to hear. The mental link between these chord groups threads through the mi7th chords rather than the 7th chords in the pairs of the sequence.
	Bar 11 is the Fmi7 we would expect next but it's held for the whole bar rather than the two beats we might have expected from the tempo established in bar 10 Bar 12 is Bb7 which is the V7 that would follow a ii7 chord of Fmi 7.
	If we look back to bar 7 with it's Abmi7, we'll see that with occasional visits to the most usual 7th chord which would follow a mi7th chord, we've visited Abmi7, Gmi7, F#mi7, and Fmi7, a series of minor 7th chords built on four descending chromatic root pitches.
	Looking back to the Fmi7 of bar 5 and 6, it seems it was held for double duration to let us know that we were going to use it as a jumping pad to leap away from it and then step back down to it by half steps using a sequence of mi7 chords.
	If we were going to complete the ii-V cliche setup in bars 11 and 12 (Fmi7-Bb7), we would have played EbMA7 which would be the I chord which completes the cliche. That would have taken us all the way back home to the EbMA7 that began the piece.
	That doesn't happen though. The sequence moves to Gmi7 instead in bar 13. This is an extemely close relative of EbMA7, since it shares three of its four notes with EbMA7. The Gmi7 here acts as an alias for EbMA7 and stands in its stead.
	So we nearly got home, but missed the bag. Funny enough, we have magically teleported back a little on the chord path we've just run towards EbMA7. We're back again on the Gmi7 last encountered in bar 9.
	In the A section, we're just going to run that sequence again using the same chord order and timing (Gmi7 in bar 13, F#mi7 B7 in bar 14, Fmi7 in bar 15, Bb7 in bar 16), which this time will slide across EbMA7, the home plate, as we wrap back to the beginning of the form in bar 17.
	In the A' section, in the interest of generating excitement at the conclusion of the form, we're going to run the sequence at a faster tempo two beats per chord rather than 4 beats per chord, and we will leave out the B7 that has followed F#mi7 twice before in the section. That will give us Gmi F#mi7 in bar 29, Fmi7 and Bb7 in bar 30, reaching Eb6 in bar 31. Eb6 is just a bit more consonant sounding than EbMA7, so its appropriate to use at the end of the form.
	If we're ending the performance we play EbMA7 in bar 16 of A'. If we are playng another chorus of the tune, we do Fmi7 and Bb7 to set up the ii-V-I cliche which completes just as we reach EbMA7 again in bar 1.