Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| G7 | 11 | 23.9% |
| Dm7 | 8 | 17.4% |
| Em7 | 4 | 8.7% |
| C6 | 3 | 6.5% |
| Cmaj7 | 3 | 6.5% |
| D7 | 3 | 6.5% |
| Eb07 | 2 | 4.3% |
| B7 | 2 | 4.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 7 |
| G7 -> Cmaj7 | Resolution (Major) | 3 |
| B7 -> Em7 | Resolution (Minor) | 2 |
| G7 -> Dm | Resolution (Minor) | 1 |
| Cmaj7 -> G7 | Setup (Major Key) | 1 |
| Cmaj7/E -> G7 | Setup (Major Key) | 1 |
| Em7 -> B7 | Setup (Major Key) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| G7 -> Dm7 | Resolution (Minor) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
Harmonic Highlights:
- Prominent use of the IV chord (Cmaj7/C6) as a strong landing point, often preceded by a v-I progression (Dm7-G7) creating a tonicization of the subdominant.
- Inclusion of the secondary dominant B7 (V/vi) resolving to Em7 (vi), and the Eb07 (bVIø7), adding chromatic interest and tension.
- The Dm, Dm/maj7, Dm7 sequence over the v chord provides internal voice leading and nuanced harmonic color.
- A D#0 chord (possibly viiø7/vi or chromatic passing diminished) introduces an altered sound before Cmaj7/E.
Improvisation Focus: Navigating the frequent temporary tonicizations of C major (IV), requiring a flexible approach between G major and C major-centric scales.
Difficulty Rating: 3 - Intermediate: Requires adept handling of standard jazz voicings, secondary dominants, diminished chords, and temporary modulations to the subdominant.