Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Em7 | 8 | 20.0% |
| Bm7 | 7 | 17.5% |
| A7 | 7 | 17.5% |
| D6 | 5 | 12.5% |
| Am7 | 2 | 5.0% |
| D7 | 2 | 5.0% |
| Gmaj7 | 2 | 5.0% |
| E7 | 2 | 5.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Em7 -> A7 | Setup (Major Key) | 6 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 2 |
| Bm7 -> E7 | Setup (Major Key) | 2 |
| F#m7 -> B7 | Setup (Major Key) | 1 |
| B7 -> Em7 | Resolution (Minor) | 1 |
| A7 -> Dmaj7 | Resolution (Major) | 1 |
| C#m7b5 -> F#7 | Setup (Minor Key) | 1 |
| F#7 -> Bm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- The progression frequently features the foundational I-vi-ii-V movement in D major.
- A temporary tonicization to the subdominant (G major) is established via an Am7-D7-Gmaj7 ii-V-I.
- Secondary dominants, such as B7 (V/Em) and F#7 (V/Bm), introduce tension and lead to diatonic chords.
- The C#m7b5-F#7 (iiø7-V7) sequence strongly implies a move towards B minor, adding harmonic color.
Improvisation Focus: D major scale and its applications over temporary dominant alterations.
Difficulty Rating: 3 Requires navigating standard diatonic progressions alongside temporary modulations and secondary dominants.