Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 9 | 14.5% |
| Gm7 | 7 | 11.3% |
| C7 | 7 | 11.3% |
| Ebmaj7 | 6 | 9.7% |
| Bb7 | 6 | 9.7% |
| Am7 | 4 | 6.5% |
| D7 | 4 | 6.5% |
| Ab7 | 3 | 4.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| C7 -> Fm7 | Resolution (Minor) | 7 |
| Fm7 -> Bb7 | Setup (Major Key) | 6 |
| Gm7 -> C7 | Setup (Major Key) | 4 |
| Am7 -> D7 | Setup (Major Key) | 4 |
| Ebmaj7 -> Ab7 | Setup (Major Key) | 3 |
| Ab7 -> Ebmaj7 | Resolution (Major) | 3 |
| Gm7 -> D7b13 | Setup (Major Key) | 3 |
| D7b13 -> Gm7 | Resolution (Minor) | 3 |
| Fm7 -> C7 | Setup (Major Key) | 3 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 2 |
| C7b9 -> Fm7 | Resolution (Minor) | 1 |
- Prominent use of secondary dominants (D7b13, C7, Bb7) to tonicize the Vm7, ivm7, and bIIImaj7, creating dynamic shifts in harmonic focus.
- The bVI7 (Ab7) resolving to bIIImaj7 (Ebmaj7) provides a distinctive “backdoor” dominant motion, introducing a chromatic flavor not strictly diatonic to C natural minor.
- Frequent temporary modulations briefly establish G minor, F minor, and Eb major as local harmonic centers within the overarching C minor framework.
Improvisation Focus: Navigating temporary tonicizations using appropriate dominant scales, particularly the altered scale for D7b13.
Difficulty Rating: 4 (Intermediate-Advanced) due to the frequent secondary dominants, altered chords, and rapid key center shifts demanding precise scale application.