Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cmaj7 | 12 | 15.8% |
| Dm7 | 9 | 11.8% |
| Em7 | 8 | 10.5% |
| G7 | 6 | 7.9% |
| Bbmaj7 | 4 | 5.3% |
| Am7 | 4 | 5.3% |
| A7 | 4 | 5.3% |
| D7 | 4 | 5.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 5 |
| Em7 -> A7 | Setup (Major Key) | 4 |
| Em7 -> A7b13 | Setup (Major Key) | 2 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| A7 -> Dm7 | Resolution (Minor) | 2 |
| F#m7 -> B7 | Setup (Major Key) | 1 |
| B7 -> Emaj7 | Resolution (Major) | 1 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| Cmaj7 -> G7 | Setup (Major Key) | 1 |
| Ebm7 -> Ab7 | Setup (Major Key) | 1 |
| Bm7b5 -> E7 | Setup (Minor Key) | 1 |
| E7 -> Am7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Frequent juxtaposition of Imaj7 (Cmaj7) with bVIImaj7 (Bbmaj7), creating a characteristic modal interchange sound.
- The use of Fm6 (bIVm6) provides a signature melancholic borrowed harmony, often functioning as a subdominant minor.
- Includes secondary dominants (A7, D7) and altered dominants like A7b13, adding tension and specific color.
- A nuanced Gm7 to Cmaj7 progression utilizes a borrowed bVII minor chord to approach the tonic.
Improvisation Focus: Navigating the modal interchange between C Ionian and elements borrowed from C Dorian/minor is crucial.
Difficulty Rating: 4 (Advanced Intermediate) - The consistent use of modal interchange and secondary/altered dominants requires a sophisticated understanding of non-diatonic harmonic functions.