Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| C7 | 9 | 26.5% |
| Gm7 | 6 | 17.6% |
| F6 | 5 | 14.7% |
| Eb7 | 3 | 8.8% |
| Am7 | 3 | 8.8% |
| D7 | 3 | 8.8% |
| Bbmaj7 | 2 | 5.9% |
| F7 | 1 | 2.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 3 |
| D7 -> Gm7 | Resolution (Minor) | 3 |
| Gm7 -> C7 | Setup (Major Key) | 3 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
| E7 -> Am7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- The prominent bVII7 (Eb7) appearing before V7 (C7) creates a non-functional dominant movement, adding chromatic color before the tonic dominant.
- Standard jazz harmonic devices include a I7-IVmaj7 progression (F7-Bbmaj7) and the classic iii-VI-ii-V-I turnaround (Am7-D7-Gm7-C7).
- A brief tonicization of Am (iii chord) occurs via a ii-V-i progression (Bm7-E7-Am7), introducing a temporary shift in tonal center.
Improvisation Focus: Navigating altered scales and arpeggios over the diverse dominant chord qualities and transient tonicizations.
Difficulty Rating: 4 The combination of functional harmony with unexpected chromaticism and modulations demands advanced harmonic understanding and scale application.