Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Gmaj7 | 8 | 21.1% |
| Am7 | 6 | 15.8% |
| Bm7 | 4 | 10.5% |
| D7 | 4 | 10.5% |
| C7 | 2 | 5.3% |
| Bb07 | 2 | 5.3% |
| Ab07 | 2 | 5.3% |
| Cmaj7 | 2 | 5.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 3 |
| D7 -> Gmaj7 | Resolution (Major) | 3 |
| Gmaj7 -> C7 | Setup (Major Key) | 2 |
| Bm7 -> E7b9 | Setup (Major Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
| E7b9 -> Am7 | Resolution (Minor) | 1 |
| E7 -> Am7b5 | Resolution (Minor) | 1 |
| Am7b5 -> D7 | Setup (Minor Key) | 1 |
Harmonic Highlights
- Chromatic Diminished Approaches: The use of Bb07 and Ab07 as leading tone diminished chords creates sophisticated chromatic voice leading towards Am7.
- Secondary Dominants and ii-V-I Progressions: Clear tonicization of the IV chord (Dm7-G7-Cmaj7) and the vi chord (E7b9 to Am7) establish temporary harmonic centers.
- Non-diatonic Dominant (C7): The C7 chord’s appearance after Gmaj7 introduces a prominent non-diatonic tension, potentially functioning as a blues dominant or temporary V7/F.
Improvisation Focus Emphasizing chord tones and applying appropriate altered scales over secondary dominants.
Difficulty Rating 4 - Requires precise navigation of quickly moving chromatic diminished chords and multiple secondary dominant resolutions.