Hi GuyBarry!
It will be fun to hear the tune in its intended way.
To be honest your chord chart gave me a headache.
I just can't stand jazz chords there's too much tension
in them and at the same time an uptempo melody.
That is in now way a criticism to your song and
I might even enjoy it. I do like Django R. .
Back to the subject. I think a too elaborate chord
progression can inhibit the interpreters flow of the
melody. Your fist chords F6 to Db6 ( in the key of F)
we have three notes moving and the note F standing still. (Right?)
All of these give possible implications of how the melody
could, not should, go. But it also makes some
notes, D for example, all good in the key of F, but
which would give Db6b9 (sorry for the ugly chord)
when changing to Db6.
What I'm trying to say is that jazz harmony works in it's
own universe. The F6 to Db6 is a I6 to iv7/3( fourth chord with
a minor seventh and the third as a bass note). A sort of cadence
going to C9 the dominant. (Interesting how the D dips to Db and
is then raised up again(!)). A chord structure that
with its
added notes to the root chords both opens and closes doors.
Jazz is both ultra traditional, with note by note following genre
masters improvised solos, all the way to the very avant-garde.
Pop/western/country works on another plane. Other rules.
Often theoretically easier but musically just as complex at some
times. I guess its obvious by now I like country singers like Gillian Welch
more than Benny Goodman.
I'm glad you've found theory helpful (and not an obstacle)
when composing.
The myth of the harmful theoretical and schooled and the awesome natural
talent is still live and kicking. Something tells me that's not gonna change
after all it has been around a few thousand years. That true talent can not be
taught. But all around us we see the contrary. It's all about will and determination
if you want to learn. If it comes easy to you, well happy you.