Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Db7 | 4 | 22.2% |
| F7sus | 4 | 22.2% |
| Cmaj7 | 3 | 16.7% |
| A7 | 2 | 11.1% |
| Gm7 | 1 | 5.6% |
| C7 | 1 | 5.6% |
| Db13 | 1 | 5.6% |
| C13 | 1 | 5.6% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 1 |
| F7sus -> Cmaj7 | Resolution (Major) | 1 |
| A7 -> Dmaj7 | Resolution (Major) | 1 |
Harmonic Highlights
- Prominent use of the
Db7(bII7) as a tritone substitution for the V7, frequently appearing immediately after the tonic, creating a strong chromatic pull. - The extended
F7susprogression generates prolonged dominant tension, delaying resolution and contributing to harmonic ambiguity. - Unconventional dominant relationships, such as
Db7followed byA7, and theC13toA7leading toDmaj7, introduce sudden modulations or parallel major shifts.
Improvisation Focus Navigating tritone substitutions and chromatic alterations.
Difficulty Rating 5 (Advanced) due to frequent, often abrupt, modulations and unconventional dominant relationships demanding precise scale and arpeggio application.