Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cmaj7 | 6 | 20.7% |
| G7 | 5 | 17.2% |
| Dm7 | 4 | 13.8% |
| Ab7 | 3 | 10.3% |
| Ebm7 | 2 | 6.9% |
| Gm7 | 2 | 6.9% |
| C7 | 2 | 6.9% |
| Fmaj7 | 2 | 6.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Dm7 -> G7 | Setup (Major Key) | 4 |
| Ebm7 -> Ab7 | Setup (Major Key) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 2 |
| G7 -> Dm7 | Resolution (Minor) | 1 |
| C7 -> Gm7 | Resolution (Minor) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
Harmonic Highlights:
- The Ebm7-Ab7 progression serves as a chromatic pre-II-V or brief modulation to the bIII area before returning to the Dm7-G7.
- Frequent II-V-I progressions, including tonicizing the subdominant (Gm7-C7-Fmaj7), define harmonic movement.
- A descending chromatic dominant sequence (Bb7-A7-Ab7-G7) generates tension with secondary dominants and tritone substitutions before resolving to Cmaj7.
Improvisation Focus: Altered dominant scales to effectively navigate the frequent chromatic V7 chord movements.
Difficulty Rating: 4 (Advanced) - The extensive use of chromatic dominant cycles and fleeting modulations requires a sophisticated understanding of harmony and scale choices.