Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| C7 | 7 | 12.7% |
| D7 | 6 | 10.9% |
| Gm7 | 5 | 9.1% |
| Am7 | 5 | 9.1% |
| Cmaj7 | 3 | 5.5% |
| Fmaj7 | 2 | 3.6% |
| Bbmaj7 | 2 | 3.6% |
| Em7b5 | 2 | 3.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 5 |
| Am7 -> D7 | Setup (Major Key) | 5 |
| D7 -> Gm7 | Resolution (Minor) | 3 |
| C7 -> Fmaj7 | Resolution (Major) | 2 |
| Em7b5 -> A7b9 | Setup (Minor Key) | 2 |
| A7b9 -> Dm7 | Resolution (Minor) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
| F#m7b5 -> B7b9 | Setup (Minor Key) | 1 |
| B7b9 -> Em7 | Resolution (Minor) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| Bm7 -> E7 | Setup (Major Key) | 1 |
| E7 -> Am7 | Resolution (Minor) | 1 |
| Ebm7 -> Ab7 | Setup (Major Key) | 1 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Features extensive II-V-I progressions, frequently tonicizing F major and G major, often through secondary dominants.
- The
Bbmaj7(bVIImaj7) chord introduces modal interchange, enriching the harmonic color within the C major context. - A strong dominant cadence is established through the
C7sus-C7resolution to the C major tonic. - Chromaticism via
F#m7b5signals a temporary departure or preparation for a new section, adding harmonic intrigue.
Improvisation Focus: Navigating II-V-I changes and target-key arpeggios efficiently.
Difficulty Rating: 3 (Intermediate). The rapid succession of II-V-I progressions and unexpected chromatic chords like F#m7b5 requires focused harmonic awareness beyond basic major scales.