Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Cm7 | 8 | 19.0% |
| Dm7 | 6 | 14.3% |
| F7 | 6 | 14.3% |
| Bb6 | 5 | 11.9% |
| G7 | 4 | 9.5% |
| Gm7 | 3 | 7.1% |
| Dm7b5 | 2 | 4.8% |
| Ebmaj7 | 1 | 2.4% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Cm7 -> F7 | Setup (Major Key) | 6 |
| G7 -> Cm7 | Resolution (Minor) | 4 |
| Dm7b5 -> G7 | Setup (Minor Key) | 2 |
| Dm7 -> G7 | Setup (Major Key) | 2 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
Harmonic Highlights
- Employs a classic
I-III-VI-II-V-Iprogression in Bb (Bb6-Dm7-Gm7-Cm7-F7-Bb6), establishing a foundational diatonic movement. - Features a strong
iiø7-V7-itonicization ofGm7(vi chord) viaAm7b5-D7b9-Gm7, adding secondary dominant functionality. - Includes
Dm7b5-G7, functioning as aiiø7-V7progression leading toCm7(the ii chord), creating temporary harmonic pull. - Utilizes the non-diatonic
Db7chord, acting as a tritone substitution (bII7) or chromatic dominant, increasing tension before the subsequentCm7-F7(ii-V).
Improvisation Focus Navigating II-V-I changes, including secondary dominants and altered dominant scales.
Difficulty Rating 3 (Intermediate). The presence of secondary dominants, ii-V progressions to non-tonic chords, and chromaticism requires an understanding beyond basic diatonic harmony.