Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| G7 | 7 | 25.0% |
| Dm7 | 6 | 21.4% |
| Em7 | 3 | 10.7% |
| Cmaj7 | 2 | 7.1% |
| A7b9 | 2 | 7.1% |
| G7/F | 1 | 3.6% |
| A7 | 1 | 3.6% |
| Dm7b5 | 1 | 3.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 6 |
| G7 -> Dm7 | Resolution (Minor) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| A7 -> Dm7b5 | Resolution (Minor) | 1 |
| Dm7b5 -> G7 | Setup (Minor Key) | 1 |
| Ebm7 -> Ab7 | Setup (Major Key) | 1 |
| Cmaj7 -> F7 | Setup (Major Key) | 1 |
| A7b9 -> Dm7 | Resolution (Minor) | 1 |
| Em7 -> A7b9 | Setup (Major Key) | 1 |
Harmonic Highlights:
- Clear and frequent ii-V-I progressions in C major define the primary tonality of the piece.
- The use of
Em7-A7(ii-V of D minor) frequently functions as a V7/ii progression, temporarily tonicizing the supertonic. - A sophisticated deceptive cadence occurs with
Dm7b5-G7(iiø7-V7 of C minor) leading unexpectedly toEm7(iii) instead of the anticipated C minor. - Advanced chromaticism is introduced through
Ebm7-Ab7(a ii-V for Db major), functioning as a side-slipping substitution before resolving to the home key’sDm7.
Improvisation Focus: Navigating clear ii-V-I progressions while adapting to frequent chromatic substitutions and deceptive resolutions.
Difficulty Rating: 3 (Intermediate) because while the underlying structure is rooted in common ii-V-I patterns, the recurring chromatic alterations and deceptive cadences demand harmonic flexibility.