Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cm7 | 12 | 31.6% |
| Db9 | 4 | 10.5% |
| Dbmaj7 | 4 | 10.5% |
| Gm7 | 4 | 10.5% |
| Abmaj7 | 3 | 7.9% |
| Gsus | 2 | 5.3% |
| Eb/F | 2 | 5.3% |
| Ab7 | 2 | 5.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| G7#5 -> Cm7 | Resolution (Minor) | 1 |
Harmonic Highlights
- Opening utilizes prolonged suspended chords (Gsus, Eb/F) to create an open, ambiguous sonic landscape, blurring a clear tonic.
- Frequent Cm7 - Db9 (bII9 of Cm) movement establishes a distinctive tritone substitution, generating strong dominant pull to the vi chord (Cm7).
- The interplay of Dbmaj7 and Db9 (bVIImaj7 and bII9/bVII9) introduces rich modal interchange colors, often linking back to the vi chord (Cm7).
Improvisation Focus The Phrygian dominant scale over the Db9 chord is essential for navigating its bII substitution function.
Difficulty Rating 4 - Requires familiarity with modal interchange, tritone substitution, and sophisticated suspended chord voicings beyond basic diatonic harmony.