Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| A7 | 5 | 12.2% |
| Ebm7 | 4 | 9.8% |
| Ab7#5 | 4 | 9.8% |
| G13 | 3 | 7.3% |
| Db7#9 | 3 | 7.3% |
| Bb7b5#9 | 3 | 7.3% |
| Dbmaj7 | 2 | 4.9% |
| Em7 | 2 | 4.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Em7 -> A7 | Setup (Major Key) | 2 |
| Abm7 -> Db7 | Setup (Major Key) | 2 |
| Dbm7 -> Ab7#5 | Setup (Major Key) | 2 |
| Ebm7 -> Ab7#5 | Setup (Major Key) | 2 |
| Gbm7/Ab -> Db7#9 | Setup (Major Key) | 1 |
Harmonic Highlights
- Features “side-slipping” ii-V cells, such as Em7-A7, positioned a half-step above the tonic ii-V to create chromatic tension before resolving back to Db major.
- Utilizes parallel chromatic dominant movement (G13 to Gb13) as a functional approach to the iii (Fm7) or ii (Ebm7) chords, emphasizing smooth voice leading.
- Employs secondary ii-V progressions (Abm7-Db7) to tonicize the IV chord, expanding the harmonic palette beyond simple diatonicism.
- Incorporates highly altered turnaround chords (Db7#9, Bb7b5#9) that provide the signature “crunchy” and blues-inflected character of the hard bop idiom.
Improvisation Focus The Db Major Bebop scale combined with “side-stepping” melodic motifs to navigate the non-diatonic ii-V interpolations.
Difficulty Rating 4/5: The rapid shifts between unrelated ii-V sequences and the specific altered dominant extensions require advanced harmonic mapping and precise rhythmic placement.