Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bb | 15 | 41.7% |
| F7 | 5 | 13.9% |
| Ebmaj7 | 2 | 5.6% |
| Ebm6 | 2 | 5.6% |
| G7 | 2 | 5.6% |
| C7 | 2 | 5.6% |
| Cm/Bb | 2 | 5.6% |
| Dm/Bb | 2 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bb7 -> Ebmaj7 | Resolution (Major) | 1 |
- Frequent dominant cycles (e.g., G7-C7-F7) provide extended harmonic motion towards the tonic.
- Distinctive minorization of the IV chord (Ebmaj7-Ebm6-Bb) introduces a borrowed chord from the parallel minor.
- The bVI-I progression (Gb-Bb) offers a chromatic approach and colorful resolution to the tonic.
- Pedal point harmony (Cm/Bb, Dm/Bb) creates diatonic textures over a sustained tonic bass.
Improvisation Focus: Navigating dominant cycles with Mixolydian scales and their chromatic alterations.
Difficulty Rating: 3/5 – It requires comfort with extended dominant chord cycles, modal mixture, and basic chromatic substitutions.