Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 5 | 13.2% |
| Eb6 | 3 | 7.9% |
| Abmaj7 | 3 | 7.9% |
| Bbm7 | 3 | 7.9% |
| Eb7 | 3 | 7.9% |
| Ab6 | 3 | 7.9% |
| Bb7 | 3 | 7.9% |
| F#07 | 2 | 5.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bbm7 -> Eb7 | Setup (Major Key) | 3 |
| Eb7/G -> Abmaj7 | Resolution (Major) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| C7 -> Fm7 | Resolution (Minor) | 2 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 1 |
| C7b9 -> Fm7 | Resolution (Minor) | 1 |
Harmonic Highlights
- Frequent use of the secondary dominant V7/IV (Eb7) driving movement towards the subdominant Abmaj7.
- Chromatic diminished chords (F#07, A07) often function as passing tones or leading-tone sonorities.
- Prominent ii-V-I progressions, both in the tonic key (Fm7-Bb7-Eb) and targeting the IV chord (Bbm7-Eb7-Ab).
- Incorporation of a iii-VI-ii-V progression (Gm7-C7-Fm7-Bb7) introducing further harmonic motion.
Improvisation Focus Navigating chord changes with specific arpeggios and mode choices (e.g., Mixolydian for V7/IV).
Difficulty Rating 3 (Intermediate). The consistent use of secondary dominants and chromatic passing chords requires attentive harmonic navigation beyond purely diatonic playing.