Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Dbmaj7 | 5 | 18.5% |
| Dm7b5 | 4 | 14.8% |
| Ab13b9 | 3 | 11.1% |
| G13b9 | 2 | 7.4% |
| Eb7#11 | 2 | 7.4% |
| Ebm7 | 2 | 7.4% |
| Abm7 | 2 | 7.4% |
| Db7b9 | 1 | 3.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Abm7 -> Db7b9 | Setup (Major Key) | 1 |
| Bb7#5#9 -> Fm7 | Resolution (Minor) | 1 |
| Fm7 -> Bb7#11 | Setup (Major Key) | 1 |
| G7b5 -> Dm7b5 | Resolution (Minor) | 1 |
- Non-functional Chromaticism: The direct, angular movement from Dm7b5 (iiø of C minor) to Dbmaj7 (IV in Ab) exemplifies Monk’s characteristic non-diatonic harmonic shifts, creating unexpected ‘ugly’ tension.
- Extended and Altered Dominants: Frequent use of tensions like 13b9, #5#9, and #11 (e.g., G13b9, Bb7#5#9, Ab7#11, G7b5) generates rich, dissonant colors, a hallmark of modern jazz harmony.
- Ambiguous Tonal Centers: Rapid, often unresolved ii-V progressions to various key areas (e.g., C minor, Db major, Gb major) combined with quick chromatic shifts (e.g., Abm7 to G7b5) contribute to harmonic unpredictability.
Improvisation Focus: Navigating altered dominant scales (e.g., Altered, Lydian Dominant) and applying chromatic melodic concepts.
Difficulty Rating: 5 (Advanced). Its frequent, abrupt modulations, dense altered chords, and non-functional harmony demand sophisticated harmonic understanding and agile execution.