Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Abmaj7 | 4 | 10.3% |
| Gmaj7 | 4 | 10.3% |
| Fm7 | 3 | 7.7% |
| Bbm7 | 3 | 7.7% |
| Eb7 | 3 | 7.7% |
| Dbmaj7 | 2 | 5.1% |
| Cmaj7 | 2 | 5.1% |
| Cm7 | 2 | 5.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bbm7 -> Eb7 | Setup (Major Key) | 3 |
| Eb7 -> Abmaj7 | Resolution (Major) | 3 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 1 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 1 |
| B7b9 -> Emaj7 | Resolution (Major) | 1 |
| C7b13 -> Fm7 | Resolution (Minor) | 1 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 1 |
Harmonic Highlights:
- Extensive use of ii-V-I progressions drives constant modulation through several key centers.
- Key changes frequently occur via descending major third relationships (e.g., Abmaj7 to Cmaj7, Ebmaj7 to Gmaj7).
- A direct parallel shift from Cmaj7 to Cm7 highlights the minor tonality mentioned in the prompt.
- The Dbmaj7 leading to Dm7-G7-Cmaj7 showcases a chromatic approach to a new ii-V-I target.
Improvisation Focus: Navigating successive ii-V-I progressions through chord-scale application.
Difficulty Rating: 5 (Advanced) due to rapid and distant modulations requiring continuous harmonic awareness and quick adaptation.