Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm7 | 8 | 16.0% |
| G7 | 6 | 12.0% |
| Cmaj7 | 5 | 10.0% |
| Ebm7 | 4 | 8.0% |
| Ab7 | 4 | 8.0% |
| G7#5 | 2 | 4.0% |
| Bm7b5 | 2 | 4.0% |
| E7b9 | 2 | 4.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 6 |
| Ebm7 -> Ab7 | Setup (Major Key) | 4 |
| G7 -> Dm7 | Resolution (Minor) | 2 |
| Dm7 -> G7#5 | Setup (Major Key) | 2 |
| G7#5 -> Cmaj7 | Resolution (Major) | 2 |
| Bm7b5 -> E7b9 | Setup (Minor Key) | 2 |
| E7b9 -> Am | Resolution (Minor) | 2 |
| Am7/G -> D7/F# | Setup (Major Key) | 2 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
Harmonic Highlights:
- Prominent “minor line cliché” (Am, Am/maj7/G#, Am7/G, D7/F#) establishing the tonic minor.
- Frequent ii-V progressions modulating to temporary tonics like C major (Dm7-G7) and D minor (Em7-A7).
- Striking chromaticism introduced by the Ebm7-Ab7 ii-V, creating significant harmonic color away from the key center.
- A strong return to the home key of A minor is achieved through the Bm7b5-E7b9 ii-V-i progression.
Improvisation Focus: Navigating the various ii-V progressions and chromatic alterations by employing Chord-Scale Theory.
Difficulty Rating: 4 (Advanced). The active harmonic rhythm and sophisticated blend of diatonic and chromatic modulations demand a nuanced improvisational approach.