Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gmaj7 | 6 | 30.0% |
| C7 | 6 | 30.0% |
| Bmaj7 | 2 | 10.0% |
| Fm7b5 | 1 | 5.0% |
| Bb7 | 1 | 5.0% |
| Ebm7 | 1 | 5.0% |
| Ebm7/Db | 1 | 5.0% |
| Cm7b5 | 1 | 5.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gmaj7 -> C7 | Setup (Major Key) | 6 |
| C7 -> Gmaj7 | Resolution (Major) | 4 |
| Fm7b5 -> Bb7 | Setup (Minor Key) | 1 |
| Bb7 -> Ebm7 | Resolution (Minor) | 1 |
| Cm7b5 -> F7 | Setup (Minor Key) | 1 |
🎼 Sheet Music
Find Lead Sheet on Sheet Music Direct (PDF)Harmonic Highlights
- The recurring Gmaj7 to C7 vamp establishes a Lydian/Lydian-Dominant tonality, common in Harris’s Brazilian-influenced compositions.
- A sudden chromatic mediant shift to Bmaj7 disrupts the G major center, bridging the gap to a darker minor tonality.
- The sequence Fm7b5–Bb7–Ebm7 functions as a clear ii-V-i in Eb minor, providing a functional anchor amidst distant modulations.
- Stepwise bass descent (Ebm7/Db to Cm7b5) creates smooth voice leading to the F7 secondary dominant, facilitating the return to Gmaj7.
Improvisation Focus Navigating sudden tonal shifts between G major and Eb minor using Barry Harris’s “half-step rule” for bebop scales.
Difficulty Rating 3/5. The rhythmic groove is accessible, but the frequent leaps between distantly related key centers require advanced harmonic navigation skills.