Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Ebmaj7 | 5 | 9.3% |
| F#7 | 5 | 9.3% |
| Bm7 | 4 | 7.4% |
| E7 | 4 | 7.4% |
| Gmaj7 | 4 | 7.4% |
| A7 | 4 | 7.4% |
| D7 | 3 | 5.6% |
| Fm7 | 3 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bm7 -> E7 | Setup (Major Key) | 4 |
| Bmaj7/F# -> F#7 | Setup (Major Key) | 3 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 2 |
| F#7 -> Bm7 | Resolution (Minor) | 2 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 2 |
| Em7 -> A7 | Setup (Major Key) | 2 |
| F#7 -> Bmaj7/F# | Resolution (Major) | 2 |
| A7 -> Dmaj7 | Resolution (Major) | 1 |
| G7b9 -> Cm7 | Resolution (Minor) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| Ebmaj7 -> Bb7 | Setup (Major Key) | 1 |
| A7 -> Dm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Initial Ebmaj7 establishes a prominent chromatic mediant (bVImaj7) relationship to the G major tonic, immediately setting a non-diatonic tone.
- Frequent deployment of altered dominant chords (e.g., A7#5, G7#5), often used for their coloristic properties rather than strict functional resolution.
- Clear, temporary tonicization of distant keys, evidenced by the Fm7-Bb7-Ebmaj7 II-V-I progression.
- Juxtaposition of diatonic II-V-I segments (Am7-D7-Gmaj7) with abrupt, non-functional chromatic shifts and altered dominants.
Improvisation Focus: Navigating temporary modulations and utilizing altered dominant scales (Super Locrian) and arpeggios.
Difficulty Rating: 5 (Advanced). The rapid shifts between diatonic and highly chromatic harmony, coupled with frequent altered dominants, demands sophisticated harmonic understanding and ear training.