Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Db7#11 | 5 | 11.1% |
| C7 | 4 | 8.9% |
| F7 | 4 | 8.9% |
| Cm7 | 4 | 8.9% |
| Abm7 | 3 | 6.7% |
| Db7 | 3 | 6.7% |
| Gb7#11 | 2 | 4.4% |
| Eb7 | 2 | 4.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Abm7 -> Db7 | Setup (Major Key) | 3 |
| Eb7 -> Abmaj7 | Resolution (Major) | 2 |
| G7#5 -> Cm7 | Resolution (Minor) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| Db7 -> Abm7 | Resolution (Minor) | 2 |
| Db7 -> Gbmaj7 | Resolution (Major) | 1 |
| C#m7 -> F#7 | Setup (Major Key) | 1 |
| F#7 -> Bmaj7 | Resolution (Major) | 1 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 1 |
| Dm7b5 -> G7 | Setup (Minor Key) | 1 |
- Extensive use of tritone substitutions, such as Db7#11 and Gb7#11, creating a Lydian Dominant sound over the dominant chords.
- Complex chromatic dominant movements, like C7 -> Db7#11 -> C7 -> Gb7#11, defying simple diatonic analysis and employing altered qualities.
- Prolonged tonicization of the bVI major (Gbmaj7) through repeated ii-V progressions (Abm7-Db7), adding a significant modulation.
- Integration of secondary dominants (G7#5 to Cm7) and non-functional dominants into advanced progressions.
Improvisation Focus: Navigating various dominant scale choices (Mixolydian b9, #9, #11, b13, Altered).
Difficulty Rating: 4 (Advanced). The rapid succession of non-functional dominant chords, tritone substitutions, and modulations necessitates advanced harmonic fluency.