Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dm7 | 7 | 19.4% |
| Am7 | 7 | 19.4% |
| E7 | 5 | 13.9% |
| D7 | 5 | 13.9% |
| Cmaj7 | 3 | 8.3% |
| G7 | 3 | 8.3% |
| Em7b5 | 2 | 5.6% |
| A7b9 | 2 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| E7 -> Am7 | Resolution (Minor) | 5 |
| Am7 -> D7 | Setup (Major Key) | 5 |
| Dm7 -> G7 | Setup (Major Key) | 3 |
| Em7b5 -> A7b9 | Setup (Minor Key) | 2 |
| A7b9 -> Dm7 | Resolution (Minor) | 2 |
| Am7 -> E7 | Setup (Major Key) | 2 |
| G7 -> Dm7 | Resolution (Minor) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
- Prominent use of the secondary dominant A7b9 (V7/iv) resolving to Dm7, creating a strong subdominant pull.
- The D7-Cmaj7 progression functions as bVII7-bIIImaj7 in A minor, introducing a distinct non-diatonic, modal flavor.
- Frequent E7-Am7 authentic cadences (V7-i) consistently reinforce the A minor tonic throughout the form.
- A ii-V-V movement (Dm7-G7-E7) generates forward motion by combining a ii-V in C with the dominant of A minor.
Improvisation Focus: Navigating A harmonic minor over tonic and dominant harmony.
Difficulty Rating: 3 (Intermediate). The presence of functional secondary dominants and non-diatonic chords like D7-Cmaj7 adds complexity beyond basic minor key playing.