Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gb7 | 9 | 17.3% |
| Bb | 9 | 17.3% |
| Db7 | 8 | 15.4% |
| F7#11 | 7 | 13.5% |
| D7 | 5 | 9.6% |
| Ab7 | 3 | 5.8% |
| Bbmaj7 | 2 | 3.8% |
| G7 | 2 | 3.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
Harmonic Highlights
- The repetitive Db7 (bII7) frequently appears as a non-resolving dominant, creating sustained chromatic tension often preceding other dominant chords.
- Prominent use of descending dominant chains like Gb7-F7#11-Bb and Ab7-Gb7-F7#11-Bb, utilizing chromatically related bVI7 and bVII7 chords leading to the tonic.
- Chromatic dominant shifts, such as D7 followed by Db7, disrupt traditional V-I resolution patterns and introduce unexpected harmonic turns.
- The F7#11 implies a Lydian Dominant or Altered scale application over the V7 chord.
Improvisation Focus Navigating chromatic dominant alterations, particularly tritone substitutions and delayed resolutions.
Difficulty Rating 5 (Advanced) – The constant shifts between non-functional, chromatically related dominants demand sophisticated harmonic awareness and quick adaptation.