Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gm7 | 8 | 15.7% |
| Dm7 | 6 | 11.8% |
| C7 | 6 | 11.8% |
| Fmaj7 | 4 | 7.8% |
| A7 | 3 | 5.9% |
| Amaj7 | 3 | 5.9% |
| Bm7 | 3 | 5.9% |
| E7 | 3 | 5.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 6 |
| C7 -> Fmaj7 | Resolution (Major) | 3 |
| Bm7 -> E7 | Setup (Major Key) | 3 |
| Em7b5 -> A7 | Setup (Minor Key) | 2 |
| A7 -> Dm7 | Resolution (Minor) | 2 |
| E7 -> Amaj7 | Resolution (Major) | 2 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
Harmonic Highlights
- Frequent interplay between Fmaj7 (relative major) and Dm7 (tonic minor) establishes a rich modal ambiguity.
- Prominent Em7b5-A7 progressions firmly resolve to Dm7, characteristic of minor key ii-V-i cadences.
- Chromatic alterations like Db7 (bII7 of C) and the descending minor sequence Am7-Abm7-Gm7 introduce unexpected color and movement.
- A significant, late-occurring modulation with Amaj7, A#07, and Bm7-E7 (a ii-V to A major) creates strong temporary tonicizations.
Improvisation Focus Navigating minor ii-V-i progressions and their chromatic extensions.
Difficulty Rating 4 (Advanced). Frequent chromaticism and non-diatonic modulations, especially in the B section, demand advanced harmonic understanding.