Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Em7/B | 3 | 12.5% |
| B7#9 | 3 | 12.5% |
| Fmaj7 | 2 | 8.3% |
| G7 | 2 | 8.3% |
| Cmaj7 | 1 | 4.2% |
| Am7 | 1 | 4.2% |
| Ab7#11 | 1 | 4.2% |
| G7sus | 1 | 4.2% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Em7/B -> B7#9 | Setup (Major Key) | 3 |
| B7#9 -> Em7/B | Resolution (Minor) | 2 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Em7 -> A7b9 | Setup (Major Key) | 1 |
| A7b9 -> Dm7 | Resolution (Minor) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| B7#9 -> Em | Resolution (Minor) | 1 |
Harmonic Highlights:
- The Ab7#11 functions as a backdoor dominant to G7 (V), introducing a sophisticated chromatic sound with a Lydian Dominant quality.
- A clear secondary dominant C7sus-C7 leads fluidly to Fmaj7 (V7/IV), extending the diatonic harmony beyond the key center.
- The Fm7 (bIVm7) introduces a brief but effective modal mixture after Fmaj7, creating a minor plagal feel.
- The repeated Em7/B to B7#9 vamp provides prolonged tension and a temporary, colorful tonicization of the mediant (iii).
Improvisation Focus: Precise application of altered dominant scales (Lydian Dominant, Altered).
Difficulty Rating: 4 - Advanced. The frequent use of altered dominants, non-diatonic progressions, and the unique vamp demands sophisticated theoretical knowledge and precise scale choices.