[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:a-night-in-tunisia":3},"title: A Night in Tunisia\naka: Interlude\nsubtitle: Latin, AABA with the interlude\ncomposer: Dizzy Gillespie\nstyle: Latin\nform: AABA, 32 bars\nkey: Dm\nrecording: Dizzy Gillespie; The Greatest of Dizzy Gillespie; RCA Victor; 1961\nyoutube: vFli0-NsVFc\n# analysis: 2026-10-19, rules v2; D minor\n# recording: recorded 1946-02-22, Gillespie's first studio recording under his own name and this title (Sarah Vaughan's \"Interlude\", 1944-12-31, and Boyd Raeburn's \"Interlude (Night in Tunisia)\", 1945, came first); take 1 (D6VB1683-1), first issued on 78 (RCA Victor 40-0132, with Anthropology), first LP 1961 (LPM-2398) (jazzdisco, Wikipedia)\n\n# bar | chord | scale\n\nsection: Intro\n# area: D minor (Intro 1 – B 3)\n1  | Eb7     # tritone substitute: resolves down a half step to Dm6\u002F9\n2  | Dm6\u002F9   # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n3  | Eb7     # tritone substitute: resolves down a half step to Dm6\u002F9\n4  | Dm6\u002F9   # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n\nsection: A1\n# the bass intro (Eb7 Dm6\u002F9, played twice) and the tag (interlude after the head); the 4-bar solo break is left out\n1  | Eb7     # tritone substitute: resolves down a half step to Dm6\u002F9\n2  | Dm6\u002F9   # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n3  | Eb7     # tritone substitute: resolves down a half step to Dm6\u002F9\n4  | Dm6\u002F9   # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n5  | Eb7     # tritone substitute: resolves down a half step to Dm6\u002F9\n6  | Dm6\u002F9   # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n7  | Em7b5   # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n7  | A7#9    # V7 of D minor: the b13 is in the key, b9, #9 and #11 from the symbol\n8  | Dm      # tonic minor: Dorian by convention\n\nsection: A2\ncopy: A1\n\nsection: B\n1  | Am7b5   # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | D7#9    # V7\u002Fiv in D minor: the b13 is in the key, b9, #9 and #11 from the symbol\n3  | Gm      # iv: Dorian, the key’s own notes\n# area: F major (B 5–8)\n5  | Gm7b5   # iiø7 of F: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | C7#9    # V7 of F: b9, #9 and #11 from the symbol\n7  | FMaj7   # tonic: the 4th is in the key\n8  | Em7b5   # iiø7 of A7#9: Locrian, the key's own notes (its ♭2 is a passing note)\n8  | A7#9    # V7\u002Fvi in F: the b13 is in the key, b9, #9 and #11 from the symbol\n\nsection: A3\ncopy: A1\n\nsection: Tag\n1  | Em7     # a borrowed minor chord: Dorian, its own key\n3  | Eb7#11  # tritone substitute: resolves down a half step to Dm7\n5  | Dm7     # ii of G7#11: Dorian\n7  | G7#11   # extended dominant: V7 of C7#11; #11 from the symbol\n9  | C7#11   # bVII7 in D minor, not resolving: the #11 from the symbol\n10 | Gm\u002FC    # iv: Dorian, the key’s own notes\n11 | F#7#9   # tritone substitute: resolves down a half step to F; b9 and #9 from the symbol\n12 | F       # bIII of D minor: the relative major itself\n",1793484797218]