Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 9 | 22.0% |
| F7 | 5 | 12.2% |
| Cm7 | 4 | 9.8% |
| Bb7 | 3 | 7.3% |
| Bb7#5 | 2 | 4.9% |
| Ebmaj7 | 2 | 4.9% |
| Gm7 | 2 | 4.9% |
| C7b9 | 2 | 4.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7 | Setup (Major Key) | 4 |
| Fm7 -> Bb7#5 | Setup (Major Key) | 2 |
| Bb7#5 -> Ebmaj7 | Resolution (Major) | 2 |
| Gm7 -> C7b9 | Setup (Major Key) | 2 |
| C7b9 -> Fm7 | Resolution (Minor) | 2 |
| Fm7 -> Bb7 | Setup (Major Key) | 2 |
| Bbm7 -> Eb7 | Setup (Major Key) | 2 |
| Eb7 -> Bbm7 | Resolution (Minor) | 1 |
| F7 -> Cm7 | Resolution (Minor) | 1 |
| Fm7 -> C7#5#9 | Setup (Major Key) | 1 |
| Bb7 -> Fm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- The initial
Fm7, Bb7#5, Ebmaj7sequence presents a colorful altered dominant (Bb7#5) leading to the bVIImaj7, adding a distinct modal flavor or fleeting modulation before resolution. - Clear ii-V-i progressions in F minor (
Gm7, C7b9, Fm7) are juxtaposed with definitive modulations to the relative major, Ab Major (Bbm7, Eb7, Ab6), providing harmonic contrast. - Frequent use of highly altered dominant chords, such as
Bb7#5,Db7#11, andEb7b9#5, introduces rich chromaticism and tension-release dynamics throughout the progression.
Improvisation Focus: Altered Scale (Super Locrian).
Difficulty Rating: 5 (Advanced). The frequent use of altered dominants, tritone substitutions, and temporary modulations demands sophisticated harmonic understanding and rapid scale/arpeggio recall.