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In this progression we have an extended version of the initial ii-V-I in the
key of G. We then begin a new tonal center ii-V-I progression in the key of
F. This means our Gmaj7/G6 chord becomes a Gm7 as ii in F major.

Descending ii-V-I’s can be found in so many jazz standards and is a staple

progression and temporary key and tonal center move within a larger piece
of music.

The E7 chord can be viewed as a secondary dominant in the original key of

G and be stated as the V7 of ii minor in the Key of G. The primary function
of the E7 is to lead you back to the Am7 so that we can cycle through the
chord progression again starting at the original position.

Am7 – ii
D9 – V7
Gmaj7/G6 – I G Major
Gm7 – ii
C9 - V7
Fmaj7 – I of F major
E7 – V7 of ii (Am7) in Key of G
 Am7 Am9 D9
iim7 Chord in G iim9 Chord in G bii7 Chord in G

5 5    5 5 5    

5 5   

7 7 

7
Gmaj7
Imaj7 Chord in G G6
(Tonal Center Tonal Center Gm7
Chord) Chord Variation iim7 Chord in F

3 5    5

3 5  3 5  5 

  

C9 Fmaj7 Esus/E7
V7 Chord in F Imaj7 Chord in F V7 of ii Chord in
G

5
3 5    3 5
3 

 

5 5    5 

E7/G#
V7 of ii Chord in
G

5 5

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