Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Abm7 | 6 | 20.0% |
| Eb7#9 | 3 | 10.0% |
| Ebm7 | 3 | 10.0% |
| Cm/maj7 | 3 | 10.0% |
| Em7 | 3 | 10.0% |
| Db7 | 2 | 6.7% |
| Cm7 | 2 | 6.7% |
| Bm7 | 2 | 6.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Eb7#9 -> Abm7 | Resolution (Minor) | 3 |
| Abm7 -> Db7 | Setup (Major Key) | 2 |
| Bb7#9 -> Ebm7 | Resolution (Minor) | 1 |
| Abm7 -> Eb7#9 | Setup (Major Key) | 1 |
Harmonic Highlights:
- Extensive deployment of altered dominant chords (e.g., Eb7#9, Bb7#9, D7#9) functioning as chromatic secondary dominants or tritone substitutes, frequently resolving to non-diatonic minor 7 chords.
- Prominent use of minor/major 7 chords (Cm/maj7, Gm/maj7, Bm/maj7) creating parallel minor qualities and sophisticated inner voice leading, often unrelated to the B major key center.
- Frequent half-step or tritone relationships between dominant and target minor chords (e.g., Eb7#9 to Abm7, Db7 to Cm/maj7), maintaining harmonic tension and preventing simple diatonic resolution.
Improvisation Focus: Melodic Minor modes (e.g., Altered, Lydian Dominant) for navigating the complex altered dominants and rich minor sonorities.
Difficulty Rating: 5 (Advanced). The harmonic vocabulary features pervasive non-diatonicism, frequent altered dominants, and rapid, unexpected modulations requiring sophisticated tonal navigation.