Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm7 | 7 | 21.2% |
| G7 | 7 | 21.2% |
| Am7 | 4 | 12.1% |
| Cmaj7 | 3 | 9.1% |
| A7b9 | 2 | 6.1% |
| C6 | 2 | 6.1% |
| D7#11 | 2 | 6.1% |
| Dm7/G | 1 | 3.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 6 |
| G7 -> Cmaj7 | Resolution (Major) | 3 |
| A7b9 -> Dm7 | Resolution (Minor) | 2 |
| Am7 -> D7#11 | Setup (Major Key) | 1 |
| Dm7/G -> G7 | Setup (Major Key) | 1 |
| G7 -> Dm7 | Resolution (Minor) | 1 |
| Em7b5 -> A7b9 | Setup (Minor Key) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
Harmonic Highlights:
- The core harmonic progression is the foundational II-V-I (Dm7-G7-Cmaj7) in C major.
- The
A7b9chord functions as a secondary dominant (V/ii), creating tension with its b9 alteration before resolving to Dm7. - The
D7#11chord acts as a V/V, introducing a distinct Lydian dominant sound through its #11 extension. - The
Dm7/Gchord frequently serves as a Gsus4 variation, effectively preparing the dominant G7.
Improvisation Focus: Mixolydian scale and its altered forms over dominant chords.
Difficulty Rating: 3 (Intermediate) - The inclusion of secondary dominants with specific altered extensions (b9, #11) requires a nuanced understanding of scale choices beyond basic diatonic improvisation.