Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bb7 | 9 | 23.1% |
| Ebmaj7 | 5 | 12.8% |
| Fm7 | 5 | 12.8% |
| C7 | 3 | 7.7% |
| Abmaj7 | 3 | 7.7% |
| B7 | 2 | 5.1% |
| Ebm7 | 1 | 2.6% |
| Ab7 | 1 | 2.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 5 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 4 |
| C7 -> Fm7 | Resolution (Minor) | 3 |
| Ebmaj7 -> Bb7 | Setup (Major Key) | 2 |
| Ebm7 -> Ab7 | Setup (Major Key) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Eb7 -> Abmaj7 | Resolution (Major) | 1 |
| Abmaj7 -> Db7 | Setup (Major Key) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
- Frequent use of secondary dominants, such as C7 (V/Fm), which temporarily tonicizes Fm7, adding tension and driving motion.
- The Abmaj7 - B7 - Bb7 progression features a prominent bII7 tritone substitution (B7 for F7, V7/V) which resolves to the V7 chord.
- A distinctive “backdoor dominant to V” movement occurs with Ebm7-Ab7 (a ii-V of Db) resolving to Bbmaj7/F (V), rather than the expected tonic Ebmaj7.
- The Em7-A7 ii-V progression leads deceptively to Cm7 (vi), introducing chromaticism and an unexpected, coloristic resolution.
Improvisation Focus: Navigating chromatic dominant functions and their resolutions.
Difficulty Rating: 5 (Advanced). It frequently departs from diatonic harmony with secondary dominants, tritone substitutions, and a unique backdoor progression to the V chord.