Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Bb7 | 5 | 14.7% |
| Cmaj7 | 4 | 11.8% |
| Fm7 | 4 | 11.8% |
| Dm7 | 4 | 11.8% |
| G7 | 4 | 11.8% |
| Em7 | 3 | 8.8% |
| A7 | 3 | 8.8% |
| C6 | 2 | 5.9% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 4 |
| Dm7 -> G7 | Setup (Major Key) | 4 |
| Em7 -> A7 | Setup (Major Key) | 3 |
| A7 -> Dm7 | Resolution (Minor) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fmaj7 | Resolution (Major) | 1 |
| Fmaj7 -> Bb7 | Setup (Major Key) | 1 |
| G7 -> Cmaj7 | Resolution (Major) | 1 |
Harmonic Highlights:
- Prominent use of the backdoor dominant progression (ivm7 - bVII7 - Imaj7) via Fm7-Bb7 resolving to Cmaj7.
- Employs standard iii-VI-ii-V-I and ii-V-I progressions as core harmonic movement.
- Brief tonicization of the subdominant (Fmaj7) through its own ii-V chord progression (Gm7-C7).
Improvisation Focus: Mixolydian scale applications over various dominant chords.
Difficulty Rating: 3/5. It requires navigating both diatonic and common non-diatonic functions like backdoor dominants and temporary tonicizations.