Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cmaj7 | 5 | 13.9% |
| Dm7 | 5 | 13.9% |
| G7 | 4 | 11.1% |
| Em7 | 3 | 8.3% |
| Db7#11 | 2 | 5.6% |
| Gm7 | 2 | 5.6% |
| C7 | 2 | 5.6% |
| Fm7 | 2 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 3 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| C7 -> Fm7 | Resolution (Minor) | 2 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Dm7 -> G7#5 | Setup (Major Key) | 2 |
| G7#5 -> Cmaj7 | Resolution (Major) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| G7 -> Dm7 | Resolution (Minor) | 1 |
| Cmaj7 -> G7 | Setup (Major Key) | 1 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 1 |
| B7b9 -> Em7 | Resolution (Minor) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| A7 -> Dm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- The
Db7#11(bII7) functions as a tritone substitution, introducing a distinct chromatic color and reharmonization against the tonic. - Modal interchange is prominent with the
Fm7andBb7(iv7 and bVII7), borrowing chords from the parallel C minor for harmonic variety. - Frequent secondary dominant progressions, such as
F#m7b5 - B7b9resolving toEm7, create movement to non-tonic targets. - The
Eb07acts as a passing diminished chord, facilitating smooth voice leading betweenEm7andDm7.
Improvisation Focus: Targeting chord tones and extensions, particularly applying altered scales over dominant 7th chords.
Difficulty Rating: 4 (Advanced Intermediate) - Frequent modulations, secondary dominants, and tritone substitutions demand strong harmonic awareness and agility.