Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm7 | 13 | 24.5% |
| G7 | 9 | 17.0% |
| A7 | 6 | 11.3% |
| Em7 | 4 | 7.5% |
| Cmaj7 | 3 | 5.7% |
| A7#5 | 2 | 3.8% |
| D7 | 2 | 3.8% |
| Ab7 | 2 | 3.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 8 |
| Em7 -> A7 | Setup (Major Key) | 4 |
| A7 -> Dm7 | Resolution (Minor) | 4 |
| G7 -> Dm7 | Resolution (Minor) | 3 |
| Dm7 -> A7#5 | Setup (Major Key) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| A7#5 -> Dm7 | Resolution (Minor) | 1 |
| G7 -> Cmaj7/E | Resolution (Major) | 1 |
| A7b9 -> Dm7 | Resolution (Minor) | 1 |
| Bm7b5 -> E7b9 | Setup (Minor Key) | 1 |
| E7b9 -> Am7 | Resolution (Minor) | 1 |
Harmonic Highlights
- The opening Cmaj7 functions as a bVIImaj7, hinting at D Dorian or modal interchange before the established D minor ii-V-i.
- Frequent use of A7 and its altered variant A7#5 strongly resolves to the D minor tonic, characteristic of minor key harmony.
- The
Cmaj7/E - Eb°7 - Dm7progression features Eb°7 as a chromatic passing diminished chord, adding color and tension before resolving to the tonic. - The concluding D7 serves as a secondary dominant (V7/G), temporarily suggesting G minor and setting up further harmonic movement.
Improvisation Focus: D Dorian/Harmonic Minor blend, especially over the ii-V-i progressions.
Difficulty Rating: 3 (Intermediate). The core harmony is accessible, but the chromatic diminished and secondary dominant chords require harmonic flexibility.