Welcome to... "Micro-Lesson 257"
The chord changes in this example are typical to those applied in many different styles of jazz music. In measure one, we begin with the key of, "B Minor's," VI-chord, "Gmaj7," played up at the 7th position. The next chord drops down a 1/2 step to the V-chord, "F#m7," of this key. The tonic chord of, "Bm7," introduces our second measure.
The next chord is a very popular smooth-jazz chord type called a, "triad over bass-note chord." In the case of our chord here, we find the VII-chord of the key played with the key's tonic as the bass. This produces an, "A/B," chord. It should also be mentioned that this type of chord will often be seen called a, "Dominant 7th sus."
In the third measure, the initial chord is another triad over bass-note type. Here we find a, "G/A." This is essentially the key's VI-chord with the key's 7th scale degree played as a, "bass-note." It is important to clarify that these triad over bass-note chords are not a, "Chord Inversion," process, but rather a new chord chord altogether.
The progression wraps-up by flowing through our key's V-chord once again and then coming into the final resolution to the root of, "B Minor 7."
Take your time developing all of the different chord movements and fingerings. If some of these chords are new, spend extra time working on their shapes until they feel smooth and easy to perform up to the tempo of this piece. Enjoy!
Micro Lesson 257: "B Minor" Smooth-Jazz Progression