Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| E7alt | 4 | 16.7% |
| Bbmaj7#11 | 3 | 12.5% |
| A7b9b13 | 2 | 8.3% |
| E7b9b13 | 2 | 8.3% |
| Am7 | 2 | 8.3% |
| Amaj7 | 2 | 8.3% |
| Dm9 | 1 | 4.2% |
| Fmaj7#11 | 1 | 4.2% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| A7b9b13 -> Dm9 | Resolution (Minor) | 1 |
| E7b9b13 -> Am7 | Resolution (Minor) | 1 |
| E7b13/G# -> Am7 | Resolution (Minor) | 1 |
| B7#5#9 -> Em11 | Resolution (Minor) | 1 |
| E7alt -> Amaj7 | Resolution (Major) | 1 |
Harmonic Highlights
- Frequent use of bVIMaj7#11 chords (e.g., Bbmaj7#11) and bIIMaj7#11 (Fmaj7#11) function as tritone substitutions or coloristic upper structures, often preceding altered dominants.
- Extensive application of altered dominant chords like E7alt, A7b9b13, and B7#5#9, creating significant harmonic tension and non-diatonic resolutions.
- Chromatic descending minor chords (Em11, Dm11, Cm11) introduce sequential modal interchange, moving away from the E major key center.
- Non-functional voice leading and intervallic chord movement (e.g., Ab7#5, C/G) create a modern, coloristic sound beyond traditional V-I progressions.
Improvisation Focus Navigating altered scales (Super Locrian) and Lydian Dominant over the numerous altered dominant and Maj7#11 chords is crucial.
Difficulty Rating 5 (Advanced). The dense altered harmony, tritone substitutions, and chromatic movement demand sophisticated theoretical understanding and improvisational agility.