Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| C7 | 12 | 23.5% |
| Gmaj7 | 10 | 19.6% |
| Eb7 | 3 | 5.9% |
| D7 | 3 | 5.9% |
| Am7 | 3 | 5.9% |
| Cm7 | 3 | 5.9% |
| Bm7b5 | 2 | 3.9% |
| E7b9 | 2 | 3.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gmaj7 -> C7 | Setup (Major Key) | 2 |
| Bm7b5 -> E7b9 | Setup (Minor Key) | 2 |
| E7b9 -> Am7 | Resolution (Minor) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| Am7 -> D7#5 | Setup (Major Key) | 1 |
| D7#5 -> Gmaj7 | Resolution (Major) | 1 |
| F#m7 -> B7 | Setup (Major Key) | 1 |
| B7 -> Emaj7 | Resolution (Major) | 1 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Extensive use of modal interchange, specifically the pivot from Gmaj7 to Cm7, transitioning the tonality from major to subdominant minor.
- Chromatic descent and substitution patterns utilizing Eb7 to D7, functioning as a tritone-adjacent approach to the dominant.
- Secondary ii-V-i motion (Bm7b5 - E7b9 - Am7) targeting the relative minor, providing a temporary tonal shift before returning to the tonic.
- Introduction of Abmaj7 (bVI) acting as a subdominant minor variant, creating a plush, non-diatonic preparation for the final cadence.
Improvisation Focus Linear Chromaticism: Emphasizing smooth voice-leading across the major-to-minor modal shifts while utilizing Tristano’s signature rhythmic displacement.
Difficulty Rating 4/5: The frequent shifts into the subdominant minor and the reliance on precise chromatic voice-leading demand advanced harmonic awareness and rhythmic independence.