Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Am7 | 6 | 20.0% |
| D7 | 4 | 13.3% |
| Bm7 | 3 | 10.0% |
| E7 | 3 | 10.0% |
| Gmaj7 | 2 | 6.7% |
| E7b13 | 2 | 6.7% |
| Cm7 | 2 | 6.7% |
| F7 | 2 | 6.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 4 |
| Bm7 -> E7 | Setup (Major Key) | 3 |
| E7b13 -> Am7 | Resolution (Minor) | 2 |
| Cm7 -> F7 | Setup (Major Key) | 2 |
| E7 -> Am7 | Resolution (Minor) | 2 |
| F#m7 -> B7 | Setup (Major Key) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| D7 -> Gmaj7 | Resolution (Major) | 1 |
Harmonic Highlights:
- The prominent E7b13 (V7b13) resolving to Am7 establishes a strong minor key center with a characteristic minor dominant sound.
- Frequent ii-V progressions target non-diatonic chords, such as Cm7-F7 to Bb and F#m7-B7 to Em, creating extensive chromaticism.
- The Em7-A7 to D major progression introduces a temporary major tonality, adding significant harmonic contrast.
- Gmaj7 (bVIImaj7) functions modally, often serving as a pre-dominant or temporary key center via D7.
Improvisation Focus: Altered Scale (Super Locrian).
Difficulty Rating: 5 (Advanced). The rapid harmonic rhythm, frequent altered dominants, and modulations via ii-V progressions demand sophisticated harmonic knowledge and agile execution.