Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 8 | 21.1% |
| Bb7 | 8 | 21.1% |
| Ebmaj7 | 6 | 15.8% |
| Gm7 | 3 | 7.9% |
| Cm7 | 3 | 7.9% |
| Abmaj7 | 2 | 5.3% |
| Ab7 | 1 | 2.6% |
| F7 | 1 | 2.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 8 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 4 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Eb7 -> Abmaj7 | Resolution (Major) | 1 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Extensive use of functional ii-V-I progressions in Eb major, firmly establishing the tonic.
- Incorporation of secondary dominant harmony, exemplified by F7 (V7/V) resolving to Bb7.
- The progression Gm7 - Ab7 - Gm7 - Cm7 features Ab7 acting as a tritone substitute for D7 (bII7 to iii7), adding a characteristic jazz flavor.
Improvisation Focus: Functional Harmony & Voice Leading.
Difficulty Rating: 3/5 - The standard ii-V-I movements are beginner-friendly, but the secondary dominant and tritone substitution require intermediate harmonic understanding.