Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gmaj7 | 9 | 21.4% |
| Am7 | 6 | 14.3% |
| E7 | 6 | 14.3% |
| D7 | 5 | 11.9% |
| Cm6 | 3 | 7.1% |
| A7 | 3 | 7.1% |
| G7 | 2 | 4.8% |
| C6 | 2 | 4.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 3 |
| E7 -> Am7 | Resolution (Minor) | 3 |
| E7 -> Bm7b5 | Resolution (Minor) | 1 |
| Bm7b5 -> E7 | Setup (Minor Key) | 1 |
| Am7 -> E7 | Setup (Major Key) | 1 |
| Am7/D -> D7 | Setup (Major Key) | 1 |
| D7 -> Am7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- The prominent Cm6 chord introduces a characteristic borrowed minor iv sound, offering a melancholic color derived from the parallel minor.
- Frequent deployment of the F#07 (vii°7) chord effectively functions as a leading-tone diminished, creating strong dominant resolution to Gmaj7.
- Successive secondary dominant chords, such as E7 (V/ii) and A7 (V/V), often integrated with ii-V progressions (e.g., Bm7b5-E7), extensively expand the harmonic landscape through temporary tonicizations.
Improvisation Focus: Navigating temporary tonicizations and borrowed chord qualities.
Difficulty Rating: 4 (Advanced Intermediate) The rich harmonic vocabulary, including borrowed chords and a chain of secondary dominants, requires adept navigation for improvisation.