Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Ebmaj7 | 5 | 11.9% |
| C7 | 5 | 11.9% |
| Fm7 | 5 | 11.9% |
| Bb7 | 5 | 11.9% |
| Abmaj7 | 3 | 7.1% |
| Gm7 | 3 | 7.1% |
| Bb7b9 | 2 | 4.8% |
| Eb7 | 2 | 4.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| C7 -> Fm7 | Resolution (Minor) | 4 |
| Fm7 -> Bb7 | Setup (Major Key) | 4 |
| Gm7 -> C7 | Setup (Major Key) | 3 |
| Ebmaj7 -> Bb7b9 | Setup (Major Key) | 2 |
| Bb7b9 -> Ebmaj7 | Resolution (Major) | 2 |
| Eb7 -> Abmaj7 | Resolution (Major) | 2 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 2 |
| Am7b5 -> D7 | Setup (Minor Key) | 1 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| Bb7 -> Fm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Frequent use of secondary dominants (e.g., Eb7 to Abmaj7, C7 to Fm7, D7 to Gm7) creating momentary tonicizations.
- Chromatic passing diminished harmony is evident with
F#07leading toGm7, adding tension and color. - Incorporation of non-diatonic dominant chords like
Db7(functioning as a backdoor dominant or tritone substitution) creates significant harmonic interest. - Extended ii-V progressions that momentarily shift tonal centers, such as
Am7b5-D7(to G minor) andGm7-C7(to F minor).
Improvisation Focus: Applying altered dominant scales and targeted chord tones over rapid harmonic changes.
Difficulty Rating: 4 (Advanced Intermediate) - Frequent non-diatonic harmony, altered dominants, and rapid tonicizations demand advanced harmonic understanding and agility.