Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Amaj7 | 8 | 18.6% |
| Am7 | 5 | 11.6% |
| D7 | 5 | 11.6% |
| Bm7 | 3 | 7.0% |
| Fmaj7#11 | 2 | 4.7% |
| C#m7 | 2 | 4.7% |
| C#maj7 | 2 | 4.7% |
| F#7 | 2 | 4.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7 | Setup (Major Key) | 5 |
| D7 -> Am7 | Resolution (Minor) | 3 |
| Bm7 -> E7 | Setup (Major Key) | 2 |
| C#m7 -> F#7b9 | Setup (Major Key) | 1 |
| F#7b9 -> Bm7 | Resolution (Minor) | 1 |
| G#m7b5 -> C#7b9 | Setup (Minor Key) | 1 |
| C#7b9 -> F#m7 | Resolution (Minor) | 1 |
| G#7#9 -> C#maj7 | Resolution (Major) | 1 |
| D#m7 -> G#7 | Setup (Major Key) | 1 |
| G#7 -> C#maj7 | Resolution (Major) | 1 |
| C#maj7 -> F#7 | Setup (Major Key) | 1 |
| F#7 -> Bm7 | Resolution (Minor) | 1 |
| E7 -> Amaj7 | Resolution (Major) | 1 |
| D7 -> Amaj7 | Resolution (Major) | 1 |
| Em7 -> A7 | Setup (Major Key) | 1 |
| A7 -> Dmaj7 | Resolution (Major) | 1 |
| Dmaj7 -> G7 | Setup (Major Key) | 1 |
| C#m7 -> F#7 | Setup (Major Key) | 1 |
| E7 -> Am7 | Resolution (Minor) | 1 |
Harmonic Highlights
- Prominent use of the bVImaj7#11 (Fmaj7#11), introducing a characteristic non-diatonic color and Lydian sound within the A major tonality.
- Frequent tonicization and modulation to the mediant major (C#maj7) and relative minor (F#m7) through strong ii-V-I progressions and altered dominants (e.g., G#7#9, C#7b9).
- Sophisticated extensions of ii-V progressions, often employing secondary dominants (e.g., C#m7 F#7b9 leading to Bm7) and chromatic alterations (b9, #9) for tension and resolution.
Improvisation Focus Emphasize precise chord-scale application and arpeggios over rapidly shifting harmonic centers.
Difficulty Rating 4 (Advanced Intermediate) - The frequent modulations, non-diatonic chords, and altered dominant qualities require a solid understanding of advanced harmony and fluent scale/arpeggio application.