Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gmaj7 | 5 | 13.5% |
| Cmaj7 | 4 | 10.8% |
| Am7 | 4 | 10.8% |
| D7 | 4 | 10.8% |
| A7 | 3 | 8.1% |
| Cm7 | 2 | 5.4% |
| F7 | 2 | 5.4% |
| Bbm7 | 2 | 5.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 4 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| Bbm7 -> Eb7 | Setup (Major Key) | 2 |
| Em7 -> A7 | Setup (Major Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 1 |
| B7b9 -> Em7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Frequent use of ii-V progressions to tonicize both diatonic and chromatic key centers (e.g.,
Bbm7 - Eb7to Ab,Dm7 - G7to C). - The
Cm7 - F7progression resolves toGmaj7, acting as a backdoor dominant (bVII7) to the tonic or a ii-V of Bb resolving unexpectedly. - Standard diatonic ii-V-I resolution in G major (
Am7 - D7 - Gmaj7) provides grounding amidst chromaticism. - Clear temporary modulation to the subdominant key (C major) via a strong
Dm7 - G7 - Cmaj7progression.
- Frequent use of ii-V progressions to tonicize both diatonic and chromatic key centers (e.g.,
Improvisation Focus: Navigating frequent ii-V changes and temporary modulations effectively.
Difficulty Rating: 3. Requires awareness of frequent ii-V changes, chromatic alterations, and temporary modulations beyond the tonic key.