Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dbmaj7 | 8 | 16.7% |
| Bbm7 | 7 | 14.6% |
| Cm7 | 6 | 12.5% |
| Eb7 | 6 | 12.5% |
| F7 | 4 | 8.3% |
| Abmaj7 | 4 | 8.3% |
| Ebm7 | 4 | 8.3% |
| Ab7 | 3 | 6.2% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bbm7 -> Eb7 | Setup (Major Key) | 3 |
| Ebm7 -> Ab7 | Setup (Major Key) | 3 |
| G7b9 -> Cm7 | Resolution (Minor) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| F7 -> Bbm7 | Resolution (Minor) | 2 |
| Eb7 -> Abmaj7 | Resolution (Major) | 2 |
| Ab7 -> Dbmaj7 | Resolution (Major) | 2 |
Harmonic Highlights:
- Prominent use of secondary dominants, such as G7b9 (V7/iii) to Cm7 and F7 (V7/ii) to Bbm7, to drive harmonic progression through diatonic minor chords.
- Frequent ii-V-I cycles, like Bbm7-Eb7-Abmaj7, establish clear functional harmony and resolve to the tonic.
- Temporary tonicization of the subdominant (IV) occurs with the Ebm7-Ab7 (ii-V of Db) progression leading to Dbmaj7, adding a distinct harmonic color.
Improvisation Focus: Chord Tone Targeting and Guide Tone Lines.
Difficulty Rating: 3 - Intermediate, as it requires navigating consistent secondary dominants and multiple ii-V-I progressions, demanding harmonic awareness beyond simple diatonic play.