Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bb7 | 4 | 12.9% |
| Ebmaj7 | 4 | 12.9% |
| F7 | 2 | 6.5% |
| B7 | 2 | 6.5% |
| Cm7 | 2 | 6.5% |
| Gm | 2 | 6.5% |
| Gbm | 2 | 6.5% |
| Fm7 | 2 | 6.5% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bb7 -> Ebmaj7 | Resolution (Major) | 4 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Ebmaj7 -> Ab7 | Setup (Major Key) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
Harmonic Highlights:
- Prominent use of chromatic dominants like F7 (V/V) and the B7 (bVI7 or tritone substitution for F7), introducing early harmonic tension and color.
- Descending chromatic root movement, such as the Gm - Gbm - Fm7 sequence, creating smooth voice leading into functional ii-V harmony.
- Frequent temporary tonicization of the subdominant (Bbm7-Eb7 to Ab) and mediant (Am7-D7 to Gm), expanding the harmonic palette beyond Eb major.
- Integration of fully diminished chords (A07) for heightened tension and multiple resolution possibilities, adding harmonic ambiguity.
Improvisation Focus: Altered Scales for dominant functions.
Difficulty Rating: 4 (Advanced) because of the frequent non-diatonic dominants, chromatic passing chords, and rapid key center shifts requiring quick harmonic adaptation.