Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gmaj7 | 9 | 21.4% |
| Am7 | 6 | 14.3% |
| E7 | 6 | 14.3% |
| D7 | 5 | 11.9% |
| Cm6 | 3 | 7.1% |
| A7 | 3 | 7.1% |
| G7 | 2 | 4.8% |
| C6 | 2 | 4.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 3 |
| E7 -> Am7 | Resolution (Minor) | 3 |
| E7 -> Bm7b5 | Resolution (Minor) | 1 |
| Bm7b5 -> E7 | Setup (Minor Key) | 1 |
| Am7 -> E7 | Setup (Major Key) | 1 |
| Am7/D -> D7 | Setup (Major Key) | 1 |
| D7 -> Am7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Frequent use of modal interchange via the iv6 (Cm6), introducing a poignant subdominant minor coloration borrowed from the parallel G minor scale.
- Secondary dominant chains, such as E7 to Am7 and A7 to D7, which create strong directional movement toward the ii and V chords.
- A minor ii-V (Bm7b5 - E7) sequence that temporarily shifts the harmonic center toward the supertonic (Am7).
- Chromaticism provided by the F#°7, functioning as a leading-tone diminished chord ($vii^\circ7$) resolving back to the tonic Gmaj7.
Improvisation Focus The G Melodic Minor scale is the most critical tool for navigating the Cm6 chord, while chord-tone targeting is essential for the secondary dominants.
Difficulty Rating 2/5: The progression follows predictable jazz logic with standard secondary dominants, though the modal borrowing requires a solid understanding of non-diatonic tones.
📚 Standard Available in:
The Real Book - Volume III
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