[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:blizzard-of-lies":3},"title: Blizzard of Lies\ncomposer: Dave Frishberg\nstyle: Medium swing\nkey: Cm\nform: ABC, 30 bars\nrecording: Dave Frishberg; The Dave Frishberg Songbook Volume No. 2; Omnisound; 1983\nyoutube: WB_qZWor_gY\n# analysis: 2026-10-19, rules v2; C minor\n# recording: recorded December 1982, Mountain Sound, Pennsylvania, Frishberg (vocal, piano) with Steve Gilmore and Bill Goodwin, Omnisound N-1051, the first recording of it (words by Samantha Frishberg), the composer singing; reissued on Dave Frishberg Classics (Concord, 1991) (MusicBrainz, library catalogues); video: \"Provided to YouTube by Universal Music Group\", Dave Frishberg Classics, the same take\n\n# the book's 13sus chords are written 9sus4 (Bb13sus → Bb9sus4); its Cm(add9) as Cm\n# the head is played three times (three verses): the 5-bar Eb pedal interlude returns to A; 3rd time, B's last bar goes to the coda\n# bar | chord\n# Intro: Eb pedal (Ebm7), a piano and bass figure; the book prints no barlines (5 bars)\n\nsection: Intro\nbars: 4\n# area: C minor (Intro 1 – A 3)\n1  | Ebm7       # a borrowed minor chord: Dorian, its own key\n\nsection: A\nbars: 10\n1  | Bb9sus4    # static sus: Mixolydian\n# bar 2, beat 4½ – bar 3: N.C. hits (piano with bass), then Bb13sus and B13sus on the last two triplet quarters\n3  | Bb9sus4\n3  | B9sus4     # static sus: Mixolydian\n@key 4 Db\n# area: Db major (A 4–9)\n4  | C9sus4     # V7sus4 of F9: the b13 is in the key\n# bar 5, beat 4½ – bar 6: N.C. hits\n# alt (optional): bar 6, beats 3–4 (C7)\n7  | F9         # extended dominant: each one falls a fifth into the next: natural tensions\n7  | Bb9        # extended dominant: each one falls a fifth into the next: natural tensions\n8  | Eb9        # V7 of V7: the dominant of the dominant: natural tensions\n8  | Ab9        # V7 of Db: natural tensions\n9  | DbMaj9#11  # from the symbol: #11\n\nsection: B\nkey: Cm\nbars: 8\n# area: C minor (B 1 – C 6)\n1  | Cm         # tonic minor: Dorian by convention\n1  | Bb13       # bVII7 in C minor, not resolving: natural tensions\n2  | Ab9        # tritone substitute: resolves down a half step to G9\n2  | G9         # tritone substitute: resolves down a half step to Gb13\n2  | Gb13       # tritone substitute: resolves down a half step to F9\n3  | F9         # IV7 in C minor, not resolving: natural tensions\n# bar 4: piano fill\n5  | Cm         # tonic minor: Dorian by convention\n5  | Bb13       # bVII7 in C minor, not resolving: natural tensions\n6  | Ab9        # tritone substitute: resolves down a half step to G9\n6  | G9         # tritone substitute: resolves down a half step to Gb13\n6  | Gb13       # tritone substitute: resolves down a half step to F9\n7  | F9         # IV7 in C minor, not resolving: natural tensions\n# bar 8: piano fill\n@coda 8\n@nav 8 To Coda (3rd time)\n\nsection: C\nkey: Cm\n1  | Ab         # a non-tonic major chord: Lydian\n2  | Adim7      # vii°7 to Eb\u002FBb, up to its bass: F7♭9 without its root\n3  | Eb\u002FBb      # bIII of C minor: the relative major itself\n4  | Bdim7      # vii°7 of Cm: G7♭9 without its root\n5  | Cm         # tonic minor: Dorian by convention\n5  | Bb7\u002FD      # V7\u002FbIII in C minor: natural tensions\n5  | Eb         # bIII of C minor: the relative major itself\n6  | AbMaj7     # a non-tonic major chord: Lydian\n6  | G9         # tritone substitute: resolves down a half step to Gb13\n6  | Gb13       # tritone substitute: resolves down a half step to Fm7\n@key 7 Ebm\n# area: Eb minor (C 7 – Interlude 1)\n7  | Fm7        # ii of the ii–V to Eb minor\n7  | Bb7        # V7 of Eb minor: b9 and b13 are in the key\n\nsection: Interlude\nkey: Ebm\nbars: 3\n# Interlude: Eb pedal (Ebm7), as the intro (5 bars, 26–30), then back to A\n1  | Ebm7       # tonic minor: Dorian by convention\n\nsection: Coda\nkey: Cm\nbars: 16\n@coda 1\n# area: C minor (Coda 1–13)\n1  | Ab9        # extended ii–V: a side-step, its own key\n2  | Adim7      # vii°7 to Eb\u002FBb, up to its bass: F7♭9 without its root\n3  | Eb\u002FBb      # bIII of C minor: the relative major itself\n4  | Bdim7      # vii°7 of Cm: G7♭9 without its root\n# Cm is anticipated on the last eighth of bar 4; bars 5–6: break (piano fill)\n5  | Cm         # tonic minor: Dorian by convention\n7  | Ab9        # bVI7 in C minor, not resolving: the #11 is in the key\n# bars 7–8: break (piano fill)\n9  | Cm         # tonic minor: Dorian by convention\n9  | Bb13       # bVII7 in C minor, not resolving: natural tensions\n10 | Ab9        # V7\u002FbII in C minor: the #11 is in the key\n# bar 10: break\n# alt (optional): bar 10, beats 3–4 (G7 Gb13), bar 11 (F)\n# bar 12: ad lib.\n12 | DbMaj9#11  # from the symbol: #11\n13 | Cm         # tonic minor: Dorian by convention\n# bar 13: printed Cm(add9); bar 14: a rest bar with a fermata\n",1793484798184]