Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| G7 | 6 | 21.4% |
| Dm7 | 5 | 17.9% |
| Em7 | 3 | 10.7% |
| A7 | 3 | 10.7% |
| Cmaj7 | 2 | 7.1% |
| F7 | 2 | 7.1% |
| Gm7 | 1 | 3.6% |
| C7 | 1 | 3.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 5 |
| Em7 -> A7 | Setup (Major Key) | 3 |
| Cmaj7 -> F7 | Setup (Major Key) | 2 |
| A7 -> Dm7 | Resolution (Minor) | 2 |
| G7 -> Dm7 | Resolution (Minor) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
Harmonic Highlights:
- Prominent use of ii-V-I progressions and secondary dominants (e.g., Em7-A7-Dm7, Dm7-G7-Cmaj7) establishes strong functional harmony.
- A ii-V-I to the subdominant (Gm7-C7-Fmaj7) provides a clear temporary tonicization of F major.
- The opening F7 after Cmaj7 acts as a distinctive dominant, often implying a Lydian dominant quality, setting an immediate harmonic departure.
- The Bb7 chord (Fmaj7-Bb7-Em7) functions as a colorful bVII7, potentially a tritone substitute for E7, creating a surprising resolution to the iii chord.
Improvisation Focus: Arpeggio superimposition to outline the rapidly changing harmonic functions.
Difficulty Rating: 3 (Intermediate): The frequent modulations and non-diatonic dominants require agile harmonic awareness and advanced melodic strategies.