Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 3 | 10.7% |
| D7 | 3 | 10.7% |
| G7 | 3 | 10.7% |
| Cmaj7 | 2 | 7.1% |
| Gb7#11 | 2 | 7.1% |
| Em7b5 | 2 | 7.1% |
| A7b9 | 2 | 7.1% |
| Dm7 | 2 | 7.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Em7b5 -> A7b9 | Setup (Minor Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| G7#5 -> Cmaj7 | Resolution (Major) | 1 |
| A7b9 -> Dm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Prominent use of the
Gb7#11(bII7) as a tritone substitution for V7/IV, resolving chromatically toFmaj7. - Frequent ii-V-I progressions in various keys, including the primary
Dm7-G7-Cmaj7and tonicizations such asGm7-C7-Fmaj7. - Inclusion of minor ii-V progressions like
Em7b5-A7b9(iiø-V of D minor), adding a touch of minor harmony to the overall major key. - Strategic deployment of altered dominant chords, exemplified by
G7#5leading to the tonic and a chromaticBb7resolving unexpectedly toEm7.
Improvisation Focus: Navigating altered dominant scales (e.g., Mixolydian b9, b13 and Lydian Dominant) and tritone substitutions.
Difficulty Rating: 4 (Advanced Intermediate). The extensive use of chromaticism, secondary dominants, tritone substitutions, and rapid harmonic rhythm demands a sophisticated understanding of jazz harmony.