Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cmaj7 | 8 | 12.7% |
| Dm7 | 8 | 12.7% |
| Am7 | 8 | 12.7% |
| G7 | 7 | 11.1% |
| Fmaj7 | 5 | 7.9% |
| E7 | 4 | 6.3% |
| Em7 | 3 | 4.8% |
| A7 | 3 | 4.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 7 |
| G7 -> Cmaj7 | Resolution (Major) | 5 |
| E7 -> Am7 | Resolution (Minor) | 4 |
| A7 -> Dm7 | Resolution (Minor) | 3 |
| C7 -> Fmaj7 | Resolution (Major) | 3 |
| Am7 -> E7 | Setup (Major Key) | 2 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 2 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 1 |
| B7b9 -> Em7 | Resolution (Minor) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| Bm7b5 -> E7b9 | Setup (Minor Key) | 1 |
| E7b9 -> Am7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- The progression Em7 - Ebø7 - Dm7 features Ebø7 as a chromatic passing diminished chord, functioning as a viiø7/ii or substitute V7 leading to the ii chord.
- Frequent use of secondary dominants such as E7 (V7/vi) resolving to Am7 and A7 (V7/ii) leading to Dm7, creating temporary tonicizations.
- A distinctive “backdoor” dominant movement of Bb7 to Cmaj7 (bVII7 to I) adds a sophisticated plagal variation to the resolution.
Improvisation Focus: Adapting scales and arpeggios to effectively outline secondary dominants and chromatic passing chords.
Difficulty Rating: 3 (Intermediate). The clear key center is approachable, but the numerous secondary dominants and chromatic alterations demand a flexible harmonic vocabulary.