Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 8 | 15.7% |
| F6 | 5 | 9.8% |
| Gm7 | 5 | 9.8% |
| D7b9 | 5 | 9.8% |
| C7 | 4 | 7.8% |
| C7#5 | 3 | 5.9% |
| D7 | 3 | 5.9% |
| Ab07 | 2 | 3.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 4 |
| C7#5 -> Fmaj7 | Resolution (Major) | 3 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| D7 -> Gm7b5 | Resolution (Minor) | 2 |
| Bbmaj7 -> Eb7 | Setup (Major Key) | 1 |
| Bm7b5 -> E7b9 | Setup (Minor Key) | 1 |
| E7b9 -> Am7b5 | Resolution (Minor) | 1 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7b9 | Setup (Major Key) | 1 |
| C7b9 -> Fmaj7 | Resolution (Major) | 1 |
- The
Ab07functions as a chromatic diminished chord, creating tension by leading semi-tonally to theGm7(ii). - The progression
F7 -> D7b9 -> Bbm6introduces a secondary dominant (F7as V of Bb) followed by a V7b9 of Gm (D7b9) resolving deceptively to the parallel minor subdominant (Bbm6). - Frequent use of altered dominants, such as
C7#5andC7b9#5, creates strong leading-tone tension for resolution. - A
Gm7b5 -> C7b9#5functions as a iiø7-V7alt progression resolving toBbmaj7(IVmaj7), indicating a common turnaround or section change.
Improvisation Focus: Altered dominant scales.
Difficulty Rating: 3 (Intermediate). Requires navigating altered dominant voicings and chromatic resolutions beyond basic diatonic harmony.