Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gmaj7 | 8 | 22.9% |
| Am7 | 8 | 22.9% |
| Eb7 | 4 | 11.4% |
| E7b9 | 4 | 11.4% |
| Bm7 | 3 | 8.6% |
| D7 | 3 | 8.6% |
| Bbm7 | 2 | 5.7% |
| Cm6 | 1 | 2.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| E7b9 -> Am7 | Resolution (Minor) | 4 |
| Am7 -> D7 | Setup (Major Key) | 3 |
| Bbm7 -> Eb7 | Setup (Major Key) | 2 |
| Bm7 -> E7b9 | Setup (Major Key) | 2 |
| Am7 -> E7b9 | Setup (Major Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
Harmonic Highlights:
- The opening Bbm7-Eb7 (bIIm7-bV7) resolving directly to Gmaj7 (I) is a signature “side-slipping” chromatic II-V movement, challenging diatonic expectations.
- Extensive use of II-V-I progressions, including the tonicization of the vi minor (Bm7-E7b9 to Am7) and the overall tonic (Am7-D7 to Gmaj7).
- Prominent altered dominant chords, notably E7b9, and the Eb7, which often functions as a tritone substitute or a chromatic passing dominant, injecting significant tension.
Improvisation Focus: The Altered Scale (7th mode of melodic minor) for navigating the complex altered dominant and tritone substitute sonorities.
Difficulty Rating: 4 (Advanced Intermediate) The combination of frequent, sometimes brief, modulations and non-functional chromatic II-V progressions requires a sophisticated harmonic ear and improvisational vocabulary.