Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cm7 | 6 | 11.5% |
| Bb6 | 5 | 9.6% |
| F7 | 5 | 9.6% |
| Gm7 | 4 | 7.7% |
| Bb7 | 4 | 7.7% |
| Ebmaj7 | 3 | 5.8% |
| Db7 | 3 | 5.8% |
| Eb6 | 3 | 5.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7 | Setup (Major Key) | 4 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 3 |
| F7 -> Bbmaj7 | Resolution (Major) | 2 |
| Ebmaj7 -> Ab7 | Setup (Major Key) | 2 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Eb7 -> Abmaj7 | Resolution (Major) | 1 |
| Abmaj7 -> Db7 | Setup (Major Key) | 1 |
Harmonic Highlights
- Employs characteristic descending chromatic dominant motion (e.g.,
Dm, Db7, Cm, B7), creating a distinct Dameron sound. - Frequent use of secondary dominants (
Bb7forEb) and tritone substitutions (Ab7often substitutingD7,Db7forG7,B7forF7). - Features moments of non-functional or ambiguous resolutions (e.g.,
B7resolving toEb6), demanding sophisticated theoretical understanding.
Improvisation Focus Altered scales and chromatic passing tones.
Difficulty Rating 4 (Advanced). The frequent chromaticism, tritone substitutions, and non-diatonic resolutions demand a sophisticated understanding of altered scales and harmonic superimposition for effective improvisation.