Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cmaj7 | 5 | 13.5% |
| Dm7 | 4 | 10.8% |
| F7 | 3 | 8.1% |
| Gm7/C | 2 | 5.4% |
| Gm7 | 2 | 5.4% |
| F#7 | 2 | 5.4% |
| Cm7/F | 2 | 5.4% |
| Ebm7 | 2 | 5.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7/F -> F7 | Setup (Major Key) | 2 |
| F#m7b5 -> B7b13 | Setup (Minor Key) | 1 |
| B7b13 -> Em7 | Resolution (Minor) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| G#m7b5 -> C#7b9 | Setup (Minor Key) | 1 |
| C#7b9 -> F#m7b5 | Resolution (Minor) | 1 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 1 |
| B7b9 -> Em7b5 | Resolution (Minor) | 1 |
| Em7b5 -> A7b9 | Setup (Minor Key) | 1 |
| A7b9 -> Dm7 | Resolution (Minor) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
Harmonic Highlights
- Frequent secondary dominants (e.g., B7b13 to Em7) and non-diatonic ii-V progressions (Cm7-F7 to Bb) drive temporary tonal shifts.
- Significant modal interchange is evidenced by chords like Gm7 (bVIIm7) and Ebm7 (biiim7), adding rich harmonic color and tension.
- A strong iiø7-V7-iø7 sequence (G#m7b5-C#7b9-F#m7b5) establishes a temporary F# minor key center, far removed from the tonic C major.
- Chromatic minor chord movements, like Dm7-Ebm7, provide smooth, non-diatonic voice leading and harmonic interest.
Improvisation Focus Altered Scale application on dominant chords.
Difficulty Rating 4 (Advanced Intermediate). Its frequent modulations, altered dominants, and distant key centers demand sophisticated harmonic understanding and execution.