Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dbmaj9 | 5 | 10.2% |
| Ab13b9 | 3 | 6.1% |
| Dmaj7 | 3 | 6.1% |
| E | 2 | 4.1% |
| Eb6 | 2 | 4.1% |
| Abmaj7 | 2 | 4.1% |
| D7#9 | 1 | 2.0% |
| F7#5#9 | 1 | 2.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Ab7b9#5 -> Dbmaj7 | Resolution (Major) | 1 |
| Ab7#11 -> Dbmaj9 | Resolution (Major) | 1 |
| Em7b5 -> A7#11 | Setup (Minor Key) | 1 |
| A7#11 -> Dmaj7 | Resolution (Major) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| Cmaj7 -> G7/B | Setup (Major Key) | 1 |
| Fm11 -> Bb7#11 | Setup (Major Key) | 1 |
| Bb7#11 -> Ebm7b5 | Resolution (Minor) | 1 |
| Ab7b9#11 -> Dbmaj9 | Resolution (Major) | 1 |
Harmonic Highlights
- Features sophisticated tritone substitutions, such as the D7#9 (subV7) resolving to the Dbmaj9 tonic, creating a lush, chromatic bass line.
- Utilizes a high density of altered secondary dominants (F7#5#9 to Bb7b9#5) to mimic Ellington’s orchestral voicing and “sweet-sour” harmonic tension.
- Employs non-diatonic “side-stepping” modulations, shifting from Dmaj7 to Ab7#11 before returning to the Dbmaj9 home key.
- Incorporates complex minor-ii-V-I movements and diminished passing chords (F#o7) to bridge distant tonal centers.
Improvisation Focus
Altered Dominant Harmony: Master the Super Locrian (Altered) scale and melodic minor substitutions to navigate the frequent #5, #9, and b9 extensions.
Difficulty Rating
4/5: The dense chromaticism, rapid harmonic rhythm, and constant use of altered tensions require advanced theoretical knowledge and precise voice-leading skills.