Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gmaj7 | 6 | 30.0% |
| C7 | 6 | 30.0% |
| Bmaj7 | 2 | 10.0% |
| Fm7b5 | 1 | 5.0% |
| Bb7 | 1 | 5.0% |
| Ebm7 | 1 | 5.0% |
| Ebm7/Db | 1 | 5.0% |
| Cm7b5 | 1 | 5.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gmaj7 -> C7 | Setup (Major Key) | 6 |
| C7 -> Gmaj7 | Resolution (Major) | 4 |
| Fm7b5 -> Bb7 | Setup (Minor Key) | 1 |
| Bb7 -> Ebm7 | Resolution (Minor) | 1 |
| Cm7b5 -> F7 | Setup (Minor Key) | 1 |
Harmonic Highlights:
- The recurring Gmaj7-C7 vamp establishes a distinct, non-diatonic tonal center, utilizing IIImaj7 and VI7 in relation to the Eb major key, creating a modal-like feel.
- A striking chromatic mediant shift to Bmaj7 (bVImaj7 in Eb) provides rich harmonic color and a temporary departure from the established tonality.
- Standard ii-V progressions (Fm7b5-Bb7 and Cm7b5-F7) clearly define and reinforce the Eb major tonic and its dominant (Bb).
- The Ebm7 to Ebm7/Db movement introduces a parallel minor tonality or specific modal texture within the Eb major context.
Improvisation Focus: Barry Harris’s bebop scales and their chromatic extensions for navigating the diverse harmonic functions.
Difficulty Rating: 5 (Advanced). The frequent chromatic shifts, non-diatonic vamps, and rapid ii-V progressions demand sophisticated harmonic awareness and fluid melodic execution.