So I got an IM from a former (excellent) student last night about a million things and I realize that I have had addressed it all in this 14 page lesson based off Autumn Leaves, so I'm putting it here in PDF
Thanks so much for sharing this, Jake! You'll be happy to know that in going from the 5th to 6th (legal) Real Book, the compositional credits were corrected. They also went back to the / iii VI / ii V / in measures 22-23 (from the tritone subs in the 5th edition).
I'm sticking the 6th Ed. changes (transposed to Gm) in here for anyone who would like to directly compare the Real Book changes to what you've done.
It seems that by putting in the V7(b9) chords, you increase the pull back to the C-7. Do you mean for these changes to be just for improvising over, or do you also mean to play the melody over the V7(b9) in the first A section?
Allow me to make a few observations regarding the melody, which can be seen below in its reduced form (sans nonharmonic and repeated tones): The entire tune is diatonic to either the Bb Relative Major, or the Gm Relative minor--two very closely-related keys, since they share the same key signature. The G minor, however, dominates due to qualitative emphasis. The entire melody is comprised of 6 diatonic notes: G, A, Bb, C, D, Eb, G--a Hexachord (6-note pitch collection).
In the A and B sections the melody behaves in a step-wise manner, descending in A, while ascending in B. The C section features diadic leaps downward in 2nds, which constitutes a compounding of the downward stepwise movement found in A. To really nit-pick, it could be argued that the last section is a variant of A, and hence A' (A Prime), since the reduction demonstrates that it essentially does the same thing as the 1st A (Eb, D, C, Bb, G), only with additional pitch classes added on the even-numbered measures.