Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Am7 | 7 | 15.2% |
| Em7 | 6 | 13.0% |
| Bm7 | 5 | 10.9% |
| D7 | 3 | 6.5% |
| Gsus | 2 | 4.3% |
| G | 2 | 4.3% |
| Gmaj7 | 2 | 4.3% |
| F#m7b5 | 2 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 3 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 2 |
| B7b9 -> Em7 | Resolution (Minor) | 2 |
| Bm7 -> E7b9 | Setup (Major Key) | 2 |
| D07/A -> Am7 | Resolution (Minor) | 2 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| E7b13 -> Am7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Frequent use of iiø-V7-i progressions, notably leading to the relative minor (Em) via F#m7b5-B7b9-Em7.
- Prominent application of altered dominant chords (B7b9, E7b9) and secondary dominants, enhancing tension and resolution.
- Incorporation of chromaticism and substitutions via half-diminished chords (C#m7b5), altered dominants (C7b5), and diminished chords (D07/A, Bb07).
Improvisation Focus: Altered Dominant Scales to navigate the various V7b9 and chromatic dominant chords.
Difficulty Rating: 4 (Advanced Intermediate). The rich harmonic vocabulary, including numerous altered dominants and non-diatonic chords, requires a solid grasp of advanced chord-scale theory and voice leading.