Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Emaj7 | 6 | 8.7% |
| F#7#11 | 6 | 8.7% |
| F#m7 | 6 | 8.7% |
| B7 | 5 | 7.2% |
| F#7 | 5 | 7.2% |
| C#7b9 | 4 | 5.8% |
| Fmaj7 | 4 | 5.8% |
| G#m7b5 | 3 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| F#m7 -> B7 | Setup (Major Key) | 3 |
| G#m7b5 -> C#7b9 | Setup (Minor Key) | 3 |
| C#7b9 -> F#m7 | Resolution (Minor) | 2 |
| A#m7 -> D#7 | Setup (Major Key) | 2 |
| C#m7 -> F#7 | Setup (Major Key) | 2 |
| G#7b9 -> C#m7 | Resolution (Minor) | 1 |
| D#7#9 -> G#maj7 | Resolution (Major) | 1 |
| D#7 -> G#maj7 | Resolution (Major) | 1 |
| B7b9 -> Emaj7 | Resolution (Major) | 1 |
| F#m -> B7 | Setup (Major Key) | 1 |
Harmonic Highlights
- The progression utilizes a II7#11 (F#7#11) immediately following the tonic, introducing a Lydian Dominant tension that defines the composition’s “slightly out of tune” character.
- Frequent use of minor ii-V cells (G#m7b5 - C#7b9) functions as a temporary modulation to the relative vi (C# minor), adding harmonic depth to the primarily major tonality.
- The Fmaj7 to Emaj7 transition employs a chromatic bIImaj7 “sideslip” resolution, providing a lush, bossa-nova-style cadence that avoids traditional dominant tension.
Improvisation Focus Lydian Dominant scale (specifically F# Lydian Dominant over the F#7#11) to highlight the #11 color.
Difficulty Rating 4/5 — The constant shifting between parallel keys and the non-functional chromaticism require advanced knowledge of melodic voice leading and chord-scale relationships.