Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bbm7 | 10 | 22.2% |
| Fm7 | 6 | 13.3% |
| F7b9 | 4 | 8.9% |
| C7#9 | 3 | 6.7% |
| Ebm7 | 3 | 6.7% |
| C7b9 | 3 | 6.7% |
| C7b9b13 | 2 | 4.4% |
| Ebmaj7 | 2 | 4.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| F7b9 -> Bbm7 | Resolution (Minor) | 4 |
| C7b9 -> Fm7 | Resolution (Minor) | 3 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 1 |
| C7#9 -> Fm7 | Resolution (Minor) | 1 |
| Fm7 -> Bb7 | Setup (Major Key) | 1 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 1 |
| Ebm7 -> Ab7 | Setup (Major Key) | 1 |
| Ab7 -> Dbmaj7 | Resolution (Major) | 1 |
| F7 -> Bbm7 | Resolution (Minor) | 1 |
| F7#9 -> Bbm7 | Resolution (Minor) | 1 |
| Bbm7 -> F7 | Setup (Major Key) | 1 |
Harmonic Highlights:
- Prominent iiø7-V7-i progressions (Gm7b5-C7b9-Fm7) firmly establish the F minor tonic.
- Extensive use of highly altered dominant chords (C7#9, C7b9b13, G7#9, G7b9b13, F7b9) creates significant harmonic tension.
- Frequent V/V-V-i movement (e.g., G7-C7-Fm7) extends dominant harmony, building greater anticipation before tonic resolution.
- Secondary dominants like F7b9 (V/iv) resolving to Bbm7 add complexity and a recurring subdominant pull.
Improvisation Focus: The Altered Scale (7th mode of Melodic Minor) over the numerous altered dominant chords.
Difficulty Rating: 4 (Advanced). The consistent application of varied altered and secondary dominants demands a sophisticated understanding of non-diatonic harmonic language.