Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Ebmaj7 | 4 | 15.4% |
| Gm7 | 4 | 15.4% |
| Abmaj7 | 3 | 11.5% |
| C7 | 3 | 11.5% |
| Fm7 | 3 | 11.5% |
| Bb7 | 3 | 11.5% |
| Eb7 | 2 | 7.7% |
| Db7 | 2 | 7.7% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Gm7 -> C7 | Setup (Major Key) | 3 |
| C7 -> Fm7 | Resolution (Minor) | 3 |
| Fm7 -> Bb7 | Setup (Major Key) | 3 |
| Eb7 -> Abmaj7 | Resolution (Major) | 2 |
| Abmaj7 -> Db7 | Setup (Major Key) | 2 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 1 |
| Am7b5 -> D7b9 | Setup (Minor Key) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
Harmonic Highlights:
- Frequent
Imaj7 - I7 - IVmaj7progression, whereI7(Eb7) functions as a secondary dominant (V7/IV) leading to Abmaj7. - Prominent use of
bVII7(Db7) as a backdoor dominant, smoothly resolving to the tonicEbmaj7. - Classic
iii-VI-ii-V(Gm7-C7-Fm7-Bb7) turnaround reinforcing functional harmony in Eb major.
Improvisation Focus: Precise application of chord-scale theory to non-diatonic dominant chords.
Difficulty Rating: 3 (Intermediate). It introduces common jazz dominant extensions beyond simple diatonic harmony, requiring specific scale choices.