Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bbm7 | 6 | 18.2% |
| Eb7 | 5 | 15.2% |
| Cm7 | 5 | 15.2% |
| Fm7 | 3 | 9.1% |
| Dm7 | 3 | 9.1% |
| G7 | 3 | 9.1% |
| F7 | 2 | 6.1% |
| Am7 | 2 | 6.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bbm7 -> Eb7 | Setup (Major Key) | 5 |
| Dm7 -> G7 | Setup (Major Key) | 3 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| F7 -> Bbm7 | Resolution (Minor) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| G7 -> Cm7 | Resolution (Minor) | 1 |
| Eb7 -> Abmaj7 | Resolution (Major) | 1 |
Harmonic Highlights:
- The prominent bVIIm7-bIII7 (Bbm7-Eb7) progression acts as a non-diatonic coloristic ii-V, often resolving deceptively or leading to unrelated diatonic functions.
- Frequent tonicization of the V chord (Bb) through its ii-V (Cm7-F7), providing strong forward motion within the Eb major key.
- A distinct modulation to C major (Dm7-G7-Cmaj7) provides harmonic contrast, moving to the relative minor’s parallel major.
Improvisation Focus: Chord-scale theory, emphasizing precise arpeggio outlining for non-diatonic and modulating sections.
Difficulty Rating: 4 (Advanced Intermediate) - The frequent non-diatonic ii-V progressions and modulations require precise harmonic navigation.