Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 9 | 22.5% |
| C7#5 | 6 | 15.0% |
| F6 | 5 | 12.5% |
| C7 | 4 | 10.0% |
| Gm/maj7 | 3 | 7.5% |
| Dm7 | 2 | 5.0% |
| G7 | 2 | 5.0% |
| D7 | 2 | 5.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 3 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| C7#5 -> Fmaj7 | Resolution (Major) | 1 |
| Am7 -> D7b9 | Setup (Major Key) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| Am7b5 -> D7 | Setup (Minor Key) | 1 |
| Gm7 -> D7 | Setup (Major Key) | 1 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- The opening oscillates between F6 (IV) and an altered dominant C7#5 (V7#5/IV), creating immediate tension and a colorful sound resolving to the subdominant.
- A sophisticated ii-V of G minor (Am7-D7b9) is quickly followed by a ii-V of C major (Gm7-C7), showcasing temporary tonicization and key area shifts.
- The repeated use of Gm7 to Gm/maj7 provides a distinct minor-major sound, introducing a strong melodic voice-leading opportunity over the minor chord.
- A conventional ii-V-I (Dm7-G7-C7sus-C7) offers a clear resolution, often concluding phrases or sections in C major.
Improvisation Focus: Navigating altered dominant scales and arpeggios (e.g., C Altered over C7#5, D Phrygian Dominant over D7b9).
Difficulty Rating: 3 (Intermediate). Requires familiarity with altered dominants and temporary tonicizations beyond basic diatonic harmony.