Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Db7 | 10 | 18.9% |
| C7 | 10 | 18.9% |
| Cm7 | 5 | 9.4% |
| Gm7 | 4 | 7.5% |
| Dm7 | 4 | 7.5% |
| F7 | 4 | 7.5% |
| Fmaj7 | 3 | 5.7% |
| D7 | 3 | 5.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7 | Setup (Major Key) | 4 |
| C7 -> Fmaj7 | Resolution (Major) | 3 |
| F7 -> Cm7 | Resolution (Minor) | 2 |
| F7 -> Bbmaj7 | Resolution (Major) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| Cm7 -> F7sus | Setup (Major Key) | 1 |
| F7sus -> Cm7 | Resolution (Minor) | 1 |
| G7 -> Dm7 | Resolution (Minor) | 1 |
| Am7b5 -> D7 | Setup (Minor Key) | 1 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- The prominent and recurring Db7-C7 (bII7-V7) dominant cycle establishes a unique chromatic tension and resolution towards Fmaj7.
- Frequent use of tritone substitution (Db7 often functions as a substitute for G7, V/V) and chromatic dominant approaches, adding advanced harmonic color.
- Interplay of diatonic harmony (e.g., Dm7) with unexpected chromatic dominants (e.g., D7 leading into Db7-C7), creating harmonic unpredictability.
- The Cm7-F7 (ii-V of Bb) progression functions as a backdoor dominant or temporary modulation, introducing a bluesy or minor-key flavor within F major.
Improvisation Focus: Navigating altered dominant sounds and tritone substitutions effectively.
Difficulty Rating: 4 (Advanced). The frequent non-diatonic dominant chords, particularly the recurring Db7-C7 progression and unexpected secondary dominant resolutions, demand advanced harmonic understanding.