Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 11 | 18.0% |
| Bb7 | 10 | 16.4% |
| Gm7 | 7 | 11.5% |
| Ebmaj7 | 4 | 6.6% |
| Eb6 | 4 | 6.6% |
| E07 | 3 | 4.9% |
| Abmaj7 | 3 | 4.9% |
| C7 | 2 | 3.3% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7 | Setup (Major Key) | 8 |
| Bb7 -> Ebmaj7 | Resolution (Major) | 3 |
| Gm7 -> D7b9 | Setup (Major Key) | 2 |
| Gm7 -> C7 | Setup (Major Key) | 1 |
| C7 -> Fm7 | Resolution (Minor) | 1 |
| Am7 -> D7 | Setup (Major Key) | 1 |
| D7 -> Gm7 | Resolution (Minor) | 1 |
| D7b9 -> Gm7 | Resolution (Minor) | 1 |
| Am7b5 -> D7 | Setup (Minor Key) | 1 |
| Fm7 -> Bb7sus | Setup (Major Key) | 1 |
- Prominent use of the
Imaj7 - #Iø7 - ii7progression (Ebmaj7 - Eø7 - Fm7), employing a chromatic passing half-diminished chord before the supertonic. - Frequent, clear
ii-V-Imovements (e.g.,Fm7 - Bb7 - Ebmaj7) consistently establish and reinforce the Eb major key center. - Extended functional harmony demonstrated by a secondary
ii-Vprogression (Gm7 - C7 - Fm7) leading to the supertonic. - Chromatic leading-tone approach to the mediant, seen with
F#ø7resolving toGm7.
Improvisation Focus: Functional Harmony
Difficulty Rating: 3 (Intermediate) - The piece utilizes standard jazz harmonic devices but incorporates effective chromatic passing chords and secondary dominants that require understanding beyond basic diatonic harmony.