Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 11 | 44.0% |
| C7 | 6 | 24.0% |
| Bbmaj7 | 2 | 8.0% |
| F7 | 1 | 4.0% |
| Bbm7 | 1 | 4.0% |
| A7 | 1 | 4.0% |
| Dm7 | 1 | 4.0% |
| G7 | 1 | 4.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fmaj7 -> C7 | Setup (Major Key) | 2 |
| C7 -> Fmaj7 | Resolution (Major) | 2 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| A7 -> Dm7 | Resolution (Minor) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
- Prominent V7-IV motion (C7-Bbmaj7) before resolving to the tonic.
- Application of the IVmaj7-ivm7-Imaj7 cadence (Bbmaj7-Bbm7-Fmaj7) provides a sophisticated tonic resolution.
- Use of secondary dominant function (F7 as V7/IV) and a longer dominant chain (A7-Dm7-G7-C7) builds harmonic tension.
Improvisation Focus: Mixolydian scale application over dominant 7th chords.
Difficulty Rating: 4. The frequent use of secondary dominants, the ivm7 chord, and longer dominant cycles requires a solid understanding of jazz harmony beyond basic diatonicism.