Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Am7 | 9 | 15.5% |
| D7 | 6 | 10.3% |
| Bbm7 | 5 | 8.6% |
| Cm7 | 4 | 6.9% |
| G6 | 3 | 5.2% |
| Eb7 | 3 | 5.2% |
| B7#11 | 2 | 3.4% |
| Em | 2 | 3.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 5 |
| Bbm7 -> Eb7 | Setup (Major Key) | 3 |
| B7#11 -> Em | Resolution (Minor) | 2 |
| Em/D -> A7/C# | Setup (Major Key) | 2 |
| Bm7b5 -> E7 | Setup (Minor Key) | 2 |
| E7 -> Am7 | Resolution (Minor) | 2 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| F#m7 -> B7 | Setup (Major Key) | 1 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 1 |
| Am7b5 -> D7 | Setup (Minor Key) | 1 |
| D7 -> Gm | Resolution (Minor) | 1 |
- Frequent ii-V-I movements tonicize G major (Am7-D7), Bb major (Cm7-F7), and Ab major (Bbm7-Eb7, Fm7-Bbm7-Eb7).
- Significant exploration of the parallel major (G major) from the G minor tonic, often through secondary dominants and ii-V progressions.
- Non-diatonic modulations to Ab major (bIIIMaj of G minor) introduce unexpected chromaticism and harmonic color.
- Chains of ii-V progressions, such as Bm7b5-E7-Am7-D7, propel the harmonic motion through related key centers.
Improvisation Focus: Chord tone outlining and effective mode changes (e.g., Dorian, Mixolydian) to articulate the frequent ii-V-I tonicizations.
Difficulty Rating: 4 (Advanced Intermediate). The rapid modulations, complex secondary dominant progressions, and non-diatonic key changes require a solid grasp of advanced jazz harmony.