Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dmaj7/F# | 7 | 10.8% |
| E/F# | 5 | 7.7% |
| Abm7 | 5 | 7.7% |
| Db7b9 | 5 | 7.7% |
| F#maj7 | 5 | 7.7% |
| Ebm7 | 4 | 6.2% |
| Bbm7 | 3 | 4.6% |
| Bm7 | 2 | 3.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Abm7 -> Db7b9 | Setup (Major Key) | 5 |
| Db7b9 -> Gbmaj7 | Resolution (Major) | 2 |
| Ebm7 -> Ab7 | Setup (Major Key) | 2 |
| Bbm7 -> Eb7 | Setup (Major Key) | 2 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| Fm7b5 -> Bb7b9 | Setup (Minor Key) | 1 |
| Bb7b9 -> Ebm7 | Resolution (Minor) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
| Eb7 -> Abm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Frequent use of sus chords (e.g., E/F#, G/A) often resolving to unexpected, non-diatonic major or dominant chords, creating a floating, open harmonic texture.
- Prevalence of tritone substitutions and chromatic mediant relationships (e.g., Ab9#11 to Gmaj7) providing colorful, less predictable dominant resolutions.
- Chaining of ii-V-I progressions (Am7-D7-Gmaj7, Abm7-Db7b9-Gbmaj7) and minor iiø-V7-i sequences (Fm7b5-Bb7b9-Ebm7) across distantly related keys, facilitating continuous modulation.
- Extensive use of altered dominants (Ab9#11, Db7b9, Bb7b9) introducing significant tension and sophisticated voice leading.
Improvisation Focus: Adaptive chord-scale navigation.
Difficulty Rating: 5 (Advanced) – Rapid, non-diatonic modulations, numerous altered dominants, and complex harmonic rhythms demand advanced theoretical knowledge and agile execution.