Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cmaj7 | 8 | 19.5% |
| G7 | 8 | 19.5% |
| F7 | 7 | 17.1% |
| Dm7 | 4 | 9.8% |
| C6 | 3 | 7.3% |
| C7/Bb | 2 | 4.9% |
| A7 | 2 | 4.9% |
| Ab7b5 | 2 | 4.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cmaj7 -> F7 | Setup (Major Key) | 7 |
| F7 -> Cmaj7 | Resolution (Major) | 4 |
| A7 -> Dm7 | Resolution (Minor) | 2 |
| G7 -> Cmaj7 | Resolution (Major) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Cmaj7 -> G7 | Setup (Major Key) | 1 |
Harmonic Highlights
- Prominent use of F7 (IV7) functions as a subdominant dominant or bluesy color, creating a characteristic ’lazy’ harmonic texture against Cmaj7.
- The C7/Bb (V7/IV) chord initiates a secondary dominant sequence (V7/ii to ii), expanding the functional harmony beyond diatonic.
- The Ab7b5 (bII7b5) serves as a tritone substitution for D7 (V7/V), offering a sophisticated altered dominant approach to G7.
Improvisation Focus Mixolydian scales and their alterations (e.g., Lydian Dominant for Ab7b5) are essential for navigating the prominent dominant 7th chords.
Difficulty Rating 3 (Intermediate) - The blend of diatonic, bluesy IV7s, secondary dominants, and tritone substitutions demands a solid understanding of various dominant chord scale choices.