Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 8 | 22.2% |
| Bb9sus | 5 | 13.9% |
| Gm7 | 4 | 11.1% |
| Ebmaj7 | 3 | 8.3% |
| F#0 | 2 | 5.6% |
| C7#9 | 2 | 5.6% |
| Eb69 | 2 | 5.6% |
| Abmaj7 | 1 | 2.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7#9 | Setup (Major Key) | 2 |
| C7#9 -> Fm7 | Resolution (Minor) | 2 |
| Gm7 -> C7b9 | Setup (Major Key) | 1 |
| C7b9 -> Fm7 | Resolution (Minor) | 1 |
| Am7b5 -> D7b13 | Setup (Minor Key) | 1 |
| D7b13 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| Fm7 -> Bb7sus | Setup (Major Key) | 1 |
| Bb7sus -> Fm7 | Resolution (Minor) | 1 |
Harmonic Highlights
- Frequent II-V-I progressions are utilized, often tonicizing the IV chord (Fm7-Bb9sus-Ebmaj7) and the relative minor (Am7b5-D7b13-Gm7).
- Chromaticism like F#0 leading to Gm7 provides a strong leading-tone diminished function to the vi chord.
- Altered dominant chords (C7#9, C7b9, D7b13) create significant tension and color, demanding specific resolution.
- The Abmaj7 briefly introduces a bVIImaj7 sound, suggesting modal interchange or a backdoor dominant approach.
Improvisation Focus Chord Tone Outlining and Altered Dominant Scales.
Difficulty Rating 4 (Advanced Intermediate) - The consistent use of altered dominants, diminished chords, and rapid II-V changes in various keys requires advanced harmonic understanding and dexterity.