Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| F7 | 3 | 7.0% |
| Dbmaj7 | 3 | 7.0% |
| Ebm7 | 3 | 7.0% |
| Bb6 | 2 | 4.7% |
| F7#5 | 2 | 4.7% |
| Bb7 | 2 | 4.7% |
| Ebmaj7 | 2 | 4.7% |
| Ebm6 | 2 | 4.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Bb7 -> Ebmaj7 | Resolution (Major) | 2 |
| Ebm6 -> Ab7 | Setup (Major Key) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| Bb7b9 -> Ebm7 | Resolution (Minor) | 2 |
| Ebm7 -> Ab7b9 | Setup (Major Key) | 2 |
| F7 -> Bbmaj7 | Resolution (Major) | 2 |
| Ab7b9 -> Dbmaj7/F | Resolution (Major) | 1 |
| Ebm7 -> Ab7#5 | Setup (Major Key) | 1 |
| Ab7#5 -> Dbmaj7 | Resolution (Major) | 1 |
| Ab7b9 -> Dbmaj7 | Resolution (Major) | 1 |
| C#m7 -> F#7 | Setup (Major Key) | 1 |
| F#7 -> Bmaj7 | Resolution (Major) | 1 |
| Cm7b5 -> F7 | Setup (Minor Key) | 1 |
Harmonic Highlights:
- Frequent tonicization of Db major (the bIII of Bb minor) via repeated
Ebm7-Ab7-Dbmaj7ii-V-I progressions, often utilizing altered dominants likeAb7#5. - Strategic use of altered dominant chords (
F7#5,Bb7b9,Ab7#5) and half-diminished harmony (E07) to create chromatic voice leading and tension. - Deceptive harmonic movements, such as the
Cm7-F7(ii-V of Bb major) resolving unexpectedly toDbmaj7instead of the tonic.
Improvisation Focus: Navigating the frequent shifts between Bb minor tonality and the strongly emphasized bIII major (Db) key area, focusing on their respective ii-V-I changes.
Difficulty Rating: 4 (Advanced) Requires navigating complex modulations, altered dominants, and deceptive resolutions which demand a high level of harmonic sophistication.