Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dbmaj7 | 11 | 12.2% |
| D7#11 | 10 | 11.1% |
| Fm6 | 6 | 6.7% |
| B7 | 5 | 5.6% |
| Ab7 | 5 | 5.6% |
| Db6 | 4 | 4.4% |
| Fm7 | 4 | 4.4% |
| C7 | 4 | 4.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| F#m7 -> B7 | Setup (Major Key) | 3 |
| Ab7 -> Dbmaj7 | Resolution (Major) | 3 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Gm7b5 -> C7 | Setup (Minor Key) | 1 |
| C7 -> Fm6 | Resolution (Minor) | 1 |
| B7 -> Emaj7 | Resolution (Major) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Abmaj7 -> Eb7b9 | Setup (Major Key) | 1 |
| Eb7b9 -> Abmaj7 | Resolution (Major) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| A7 -> Dmaj7 | Resolution (Major) | 1 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| Dbmaj7 -> Gb7 | Setup (Major Key) | 1 |
Harmonic Highlights
- Frequent use of the bVII9 chord (B9) as a neighbor tone to the I major tonic, creating a distinct Lydian b7 harmonic flavor and subdominant minor substitution.
- Chromatic and diatonic planning through the verse (Ebm7–Abm7) followed by tritone substitutions (D13#11) to resolve into the iii chord (Fm7).
- Rapid shifts between major and minor tonalities, specifically utilizing minor ii-V-i progressions (Gm7b5–C7–Fm6) that disrupt the C# major home key.
Improvisation Focus
Guide Tone Navigation through through-composed, chromatic chord transitions.
Difficulty Rating
5/5. The lack of a repeating AABA structure combined with dense, non-functional chromaticism makes this one of the most challenging ballads in the jazz repertoire.