Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 11 | 16.4% |
| Bb7 | 11 | 16.4% |
| Ebmaj7 | 10 | 14.9% |
| C7 | 6 | 9.0% |
| C7b9 | 5 | 7.5% |
| Ab7 | 3 | 4.5% |
| Abmaj7 | 3 | 4.5% |
| Gm7 | 3 | 4.5% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 8 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 7 |
| C7 -> Fm7 | Resolution (Minor) | 5 |
| C7b9 -> Fm7 | Resolution (Minor) | 3 |
| Ebmaj7 -> Ab7 | Setup (Major Key) | 2 |
| D7alt -> Gm7b5 | Resolution (Minor) | 1 |
| Gm7b5 -> C7b9 | Setup (Minor Key) | 1 |
| Fm7 -> C7b9 | Setup (Major Key) | 1 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
| Gm7 -> C7#9 | Setup (Major Key) | 1 |
| C7#9 -> Fm7 | Resolution (Minor) | 1 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
Harmonic Highlights:
- Prominent use of standard ii-V-I progressions (Fm7-Bb7-Ebmaj7) establishing the tonic key.
- Application of secondary dominants, notably C7 (V7/ii), to lead effectively to the Fm7 chord.
- An extended cycle of dominant chords (G7b9-C7b9-F7-Bb7) generates significant harmonic momentum towards the tonic.
- The non-diatonic A7 chord creates an interesting chromatic tension, resolving effectively to Fm7 via a descending major third movement.
Improvisation Focus: Altered dominant scales (e.g., Altered, Half-Whole Diminished) over V7 chords for tension and resolution.
Difficulty Rating: 4 (Advanced Intermediate) - The extended dominant chains and non-diatonic substitutions like the A7 chord require a solid grasp of advanced harmonic concepts.