Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Ebmaj7 | 5 | 9.3% |
| F#7 | 5 | 9.3% |
| Bm7 | 4 | 7.4% |
| E7 | 4 | 7.4% |
| Gmaj7 | 4 | 7.4% |
| A7 | 4 | 7.4% |
| D7 | 3 | 5.6% |
| Fm7 | 3 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bm7 -> E7 | Setup (Major Key) | 4 |
| Bmaj7/F# -> F#7 | Setup (Major Key) | 3 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 2 |
| F#7 -> Bm7 | Resolution (Minor) | 2 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 2 |
| Em7 -> A7 | Setup (Major Key) | 2 |
| F#7 -> Bmaj7/F# | Resolution (Major) | 2 |
| A7 -> Dmaj7 | Resolution (Major) | 1 |
| G7b9 -> Cm7 | Resolution (Minor) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| Ebmaj7 -> Bb7 | Setup (Major Key) | 1 |
| A7 -> Dm7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- Employs frequent modal interchange, shifting between the home key of G major and the bVI (Ebmaj7) tonal center to create a bright, shifting harmonic palette.
- Features chromatic II-V sequences, such as Fm7–Bb7 resolving to Ebmaj7, which treat non-diatonic chords as temporary tonics.
- Utilizes III-VI-II-V turnarounds (Bm7–E7–Am7–D7) to provide structural stability and clear voice leading back to the G major tonic.
- Dominant chords frequently use #5 alterations, indicating a preference for Whole-Tone or Altered scale colors over standard Mixolydian functionality.
Improvisation Focus Navigating Modal Interchange transitions between the G Major tonic and the Eb Major (bVI) harmonic area.
Difficulty Rating 4/5: The rapid modulation between distal key centers and the reliance on altered tensions require advanced harmonic fluency and precise voice leading.