Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gmaj7 | 5 | 13.5% |
| Cmaj7 | 4 | 10.8% |
| Am7 | 4 | 10.8% |
| D7 | 4 | 10.8% |
| A7 | 3 | 8.1% |
| Cm7 | 2 | 5.4% |
| F7 | 2 | 5.4% |
| Bbm7 | 2 | 5.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 4 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| Bbm7 -> Eb7 | Setup (Major Key) | 2 |
| Em7 -> A7 | Setup (Major Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 1 |
| B7b9 -> Em7 | Resolution (Minor) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The progression begins on the IV chord (Cmaj7) rather than the tonic, creating an immediate sense of harmonic suspension and delayed resolution.
- Utilization of the “backdoor” ii-V sequence (Cm7 - F7) provides a smooth, minor-plagal transition back to the tonic Gmaj7.
- A chromatic non-diatonic ii-V (Bbm7 - Eb7) acts as a side-slipping passing motion that leads into the diatonic ii-V (Am7 - D7).
- Structural use of the secondary dominant V/V (A7) creates tension that typically resolves to the dominant (D7) or the ii (Am7).
Improvisation Focus Voice leading through the IV-iv-I transition, specifically targeting the chromatic descent from the 3rd of Cmaj7 (E) to the 3rd of Cm7 (Eb) and finally the 5th of Gmaj7 (D).
Difficulty Rating 3/5: The non-tonic start and rapid modulation through chromatic ii-V sequences require an intermediate understanding of functional harmony and modal interchange.
📚 Standard Available in:
The Real Book - Volume IV
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