Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bb7 | 6 | 19.4% |
| Fm7 | 5 | 16.1% |
| Ebmaj7 | 3 | 9.7% |
| Bb7sus | 3 | 9.7% |
| Eb7 | 2 | 6.5% |
| Ab7 | 1 | 3.2% |
| Gm7 | 1 | 3.2% |
| C7 | 1 | 3.2% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 5 |
| Ebmaj7 -> Bb7sus | Setup (Major Key) | 3 |
| Bb7 -> Fm7 | Resolution (Minor) | 3 |
| Bb7sus -> Ebmaj7 | Resolution (Major) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fm7 | Resolution (Minor) | 1 |
| Cm7 -> F7 | Setup (Major Key) | 1 |
| F7 -> Bbmaj7 | Resolution (Major) | 1 |
| Bbm7 -> Eb7 | Setup (Major Key) | 1 |
| Eb7 -> Abmaj7 | Resolution (Major) | 1 |
| Abmaj7 -> Db7 | Setup (Major Key) | 1 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 1 |
| C7b9 -> Fm7 | Resolution (Minor) | 1 |
- The use of a blues-inflected I7 (Eb7) preceding the IV7 (Ab7) adds a distinct bluesy flavor to the major tonic.
- An intriguing bVII7 (Ab7) to IIIm7 (Gm7) resolution presents a notable non-diatonic dominant movement.
- Prominent ii-V-I sequences (Fm7-Bb7) establish a strong diatonic framework and also tonicize the dominant (Cm7-F7-Bbmaj7).
Navigating ii-V-I changes using Dorian and Mixolydian modes.
3 (Intermediate). The tune features clear ii-V-I progressions but also incorporates secondary dominants and non-diatonic resolutions that require focused harmonic understanding.