Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fmaj7 | 7 | 19.4% |
| Bb7 | 6 | 16.7% |
| Dm7 | 5 | 13.9% |
| Gm7 | 4 | 11.1% |
| C7 | 4 | 11.1% |
| F6 | 4 | 11.1% |
| Am7 | 2 | 5.6% |
| Em7 | 1 | 2.8% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 4 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 3 |
| C7 -> Fmaj7 | Resolution (Major) | 2 |
| Bb7 -> Fmaj7 | Resolution (Major) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| A7 -> Dm7 | Resolution (Minor) | 1 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
Harmonic Highlights
- Prominent use of the non-diatonic Bb7 (IV7) creates a bluesy or dominant-substitute tension, moving away from a purely diatonic feel.
- Classic I-VI-II-V (Fmaj7-Dm7-Gm7-C7) progressions serve as a core harmonic anchor, consistently resolving to the F major tonic.
- The Em7-A7 progression functions as a II-V to D minor (vi), providing temporary harmonic movement and a common jazz turnaround element.
Improvisation Focus F Major Scale and its diatonic modes over individual chords.
Difficulty Rating 2 (Beginner-Intermediate). It utilizes standard II-V-I progressions and common non-diatonic chords, making it accessible for developing improvisers to practice fundamental jazz harmony.