Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| G6 | 11 | 22.0% |
| Em7 | 5 | 10.0% |
| D7 | 5 | 10.0% |
| Am7 | 4 | 8.0% |
| A7 | 3 | 6.0% |
| D7sus | 2 | 4.0% |
| D7/F# | 2 | 4.0% |
| Dm6/F | 2 | 4.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Am7 -> D7sus | Setup (Major Key) | 2 |
| Em7 -> A7 | Setup (Major Key) | 2 |
| Am7 -> D7 | Setup (Major Key) | 2 |
| A7 -> Dmaj7 | Resolution (Major) | 1 |
| F#7/C# -> Bm7 | Resolution (Minor) | 1 |
| F#7 -> Bm7 | Resolution (Minor) | 1 |
| Am7/D -> D7 | Setup (Major Key) | 1 |
Harmonic Highlights:
- Prevalent use of secondary dominants, notably V/V (A7) leading to V (D7) and V/iii (F#7) to iii (Bm7).
- Chromatic bass lines create harmonic interest, exemplified by
G6 - D7/F# - Dm6/F - E7, whereDm6/F(bVII) introduces modal color. - Strategic deployment of diminished chords (e.g., Eb07) functioning as chromatic passing tones or altered dominant substitutes.
Improvisation Focus: Navigating chord tones and appropriate dominant scales (Mixolydian, Altered) through the frequent functional harmony shifts.
Difficulty Rating: 4 (Advanced Intermediate). The blend of diatonic progressions with frequent secondary dominants, chromaticism, and diminished chords demands a solid understanding of functional harmony and advanced scale application.