Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| D7 | 5 | 12.2% |
| Am7 | 4 | 9.8% |
| Dm7 | 4 | 9.8% |
| Gmaj7 | 3 | 7.3% |
| A7 | 3 | 7.3% |
| B7 | 3 | 7.3% |
| E7 | 3 | 7.3% |
| C7 | 2 | 4.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 3 |
| Gmaj7 -> C7 | Setup (Major Key) | 2 |
| Bm7 -> E7b13 | Setup (Major Key) | 1 |
| Am7 -> D7#9 | Setup (Major Key) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gmaj7 | Resolution (Major) | 1 |
| A7b9 -> Dm7 | Resolution (Minor) | 1 |
| B7 -> Em7b5 | Resolution (Minor) | 1 |
| Em7b5 -> A7b9 | Setup (Minor Key) | 1 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
- Extensive application of secondary dominants (e.g., E7b13 to Am7, A7 to D7) creates strong forward motion.
- Frequent use of altered dominant chords (D7#9, D7b9, E7b13) injects chromatic tension and color.
- The backdoor dominant progression (C7 to Gmaj7) offers a smooth, unexpected tonic resolution.
- Chromatic passing diminished harmony (
G#07toAm7) adds sophisticated voice leading.
Improvisation Focus: Altered Dominant scales (e.g., Altered Scale, Mixolydian b9,b13).
Difficulty Rating: 4 (Advanced). Its frequent use of altered dominants, secondary dominants, and chromatic passing chords requires advanced harmonic understanding and melodic navigation.