Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 4 | 15.4% |
| C6 | 3 | 11.5% |
| Am7 | 3 | 11.5% |
| D7 | 3 | 11.5% |
| G7 | 3 | 11.5% |
| E7 | 2 | 7.7% |
| C6/G | 2 | 7.7% |
| E7b9/G# | 2 | 7.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 3 |
| E7b9/G# -> Am7 | Resolution (Minor) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
Harmonic Highlights
- Prominent use of the
E7b9/G#(V7/vi altered) resolving deceptively to Fmaj7 (IV), creating a distinctive chromatic bass line (G to G# to A) and harmonic surprise. - Frequent and clear ii-V-I progressions in both the tonic (Dm7-G7-C6) and subdominant (Gm7-C7-Fmaj7) keys.
- The
Am7-D7(vi-II7) serves as a classic extended turnaround, establishing a V7/V function before the primary ii-V.
Improvisation Focus C Major scale and its diatonic modes.
Difficulty Rating 2/5 - The changes are largely diatonic with standard ii-V-I patterns, making it accessible for developing improvisers.