Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cm7 | 9 | 18.4% |
| Bb6 | 5 | 10.2% |
| Dm7 | 4 | 8.2% |
| F7 | 4 | 8.2% |
| Gm | 4 | 8.2% |
| D7 | 3 | 6.1% |
| Bbmaj7 | 2 | 4.1% |
| B7#11 | 2 | 4.1% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7 | Setup (Major Key) | 3 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| G7 -> Cm7 | Resolution (Minor) | 2 |
| D7 -> Gm7 | Resolution (Minor) | 2 |
| Am7b5 -> D7#9 | Setup (Minor Key) | 1 |
| Cm7 -> F7alt | Setup (Major Key) | 1 |
| D7/F# -> Gm | Resolution (Minor) | 1 |
| Gm -> D7 | Setup (Major Key) | 1 |
| D7 -> Gm | Resolution (Minor) | 1 |
| Cm7 -> G7b9 | Setup (Major Key) | 1 |
| G7b9 -> Cm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Prominent use of chromatic passing dominants, exemplified by the B7#11 functioning as an altered dominant leading to Bbmaj7.
- Intriguing modal interchange with the Ebm7 (iv minor or ii of bIII) within the Cm7-Dm7-Ebm7-Dm7 progression, creating a sophisticated chromatic passing effect.
- Extensive application of secondary dominants and minor ii-V-i cadences, such as D7 to Gm7 and Am7b5-D7#9 to Gm, expanding harmonic motion.
Improvisation Focus: Navigating altered dominant scales (e.g., Mixolydian b9b13, Altered Scale) over the numerous V7 and secondary dominant chords.
Difficulty Rating: 5 (Advanced). The frequent use of altered dominants, chromatic passing chords, and rapid harmonic changes requires a high level of harmonic sophistication.