Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 5 | 12.2% |
| C7 | 5 | 12.2% |
| F6 | 4 | 9.8% |
| Bbmaj7 | 4 | 9.8% |
| Fmaj7 | 2 | 4.9% |
| F#07 | 2 | 4.9% |
| C7b9 | 2 | 4.9% |
| Am7 | 2 | 4.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 3 |
| Gm7 -> C7b9 | Setup (Major Key) | 2 |
| Am7 -> D7#9 | Setup (Major Key) | 2 |
| D7#9 -> Gm7 | Resolution (Minor) | 2 |
| F7/A -> Bbmaj7 | Resolution (Major) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Eb7 -> Abmaj7 | Resolution (Major) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
- Strategic use of F#07 as a chromatic diminished passing chord (VIIo7/ii) between Fmaj7 and Gm7, adding immediate tension.
- Implied ii-V-i in G minor (Am7-D7#9-Gm7) showcasing an altered dominant (D7#9).
- Inclusion of B07 as a bVIIo7 passing chord connecting Bbmaj7 to F6/C, providing chromatic embellishment.
- Clear secondary dominant movement with a ii-V-I to the IV chord (Cm7-F7-Bbmaj7), indicating temporary tonicization.
Altered dominant scales.
5 (Advanced): The frequent deployment of altered dominants, diminished passing chords, and secondary dominant modulations requires sophisticated harmonic understanding and advanced improvisational techniques.