Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| C7 | 11 | 33.3% |
| A7 | 4 | 12.1% |
| G7 | 4 | 12.1% |
| Eb7 | 3 | 9.1% |
| F7 | 2 | 6.1% |
| Bb7 | 2 | 6.1% |
| Gb7 | 2 | 6.1% |
| D7 | 1 | 3.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 1 |
Harmonic Highlights:
- Extensive use of non-diatonic dominant 7th chords (A7, Eb7, D7, Gb7), frequently functioning as secondary dominants or tritone substitutions.
- Frequent chromatic dominant movement, such as the Eb7 (bIII7) and Gb7 (bV7) chords, disrupting typical diatonic expectations.
- The A7sus - Ab7sus sequence demonstrates characteristic Henderson chromatic planing, hinting at complex voice leading.
- Harmonic flow often avoids strong V-I resolutions, creating an unfolding, less predictable tonal landscape.
Improvisation Focus: Navigating altered dominant scales and applying chromatic approaches.
Difficulty Rating: 4 (Advanced). The rapid shifts between non-diatonic dominants and tritone substitutions demand sophisticated harmonic understanding and ear training.