Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| C7 | 12 | 22.6% |
| Gm7/C | 8 | 15.1% |
| Gm7 | 7 | 13.2% |
| F6 | 4 | 7.5% |
| G#07 | 3 | 5.7% |
| F/A | 3 | 5.7% |
| Fmaj7 | 3 | 5.7% |
| D7 | 2 | 3.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7/C -> C7 | Setup (Major Key) | 8 |
| C7 -> Gm7/C | Resolution (Minor) | 5 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| D7 -> Gm7b5/Db | Resolution (Minor) | 1 |
| Gm7b5/Db -> C7 | Setup (Minor Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Ebm7 -> Ab7 | Setup (Major Key) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| Gm7 -> C7sus | Setup (Major Key) | 1 |
- Tonicization of IV: The recurring Gm7/C - C7 - F6 progression strongly tonicizes F Major (IV chord in C), functioning as a temporary ii7-V7-I.
- Chromatic Diminished: G#07 (Abdim7) serves as a chromatic passing diminished chord, often implying a secondary dominant (e.g., D7b9) or creating tension leading to F/A.
- Extended Dominant Chain: The E7#5 - Eb7 - D7 sequence showcases a tertiary dominant (V7/vi), followed by a chromatic dominant (Eb7 acting as bII7/D or tritone substitute for A7), and finally a secondary dominant (V7/V).
- Altered Dominants: The E7#5 and Eb7 introduce significant chromaticism and altered extensions, demanding careful harmonic navigation.
Improvisation Focus: Mixolydian and Altered scales, emphasizing chord tones and guide tones over dominant progressions.
Difficulty Rating: 4 (Advanced) - The frequent tonicizations, chromatic diminished chords, and complex altered/tritone substitution dominants require sophisticated harmonic understanding.