[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:bouncin-with-bud":3},"title: Bouncin' with Bud\ncomposer: Bud Powell\nstyle: Medium up\nkey: Bb\nform: ABCD, 40 bars\nrecording: Bud Powell; The Amazing Bud Powell; Blue Note; 1952\nyoutube: 43-FN8Vtbnc\n# analysis: 2026-10-19, rules v2; Bb\n# recording: recorded 1949-08-09, WOR Studios, NYC, Bud Powell's Modernists: Fats Navarro, Sonny Rollins, Tommy Potter, Roy Haynes, master BN360-2, the first recording of it, first issued on 78 as \"Bouncing With Bud\" (Blue Note 1567, with Wail), first LP 10\" BLP 5003 (1952); later on The Amazing Bud Powell, Volume 1 (BLP 1503) (jazzdisco, Wikipedia); video: \"Provided to YouTube by Universal Music Group\", The Amazing Bud Powell Vol. 1 (RVG Edition), the master, the same take\n# intro and head as written; solo on ABC; after solos D.C. al Coda (to the Coda from C bar 8)\n# the intro's chords are kicks pushed ahead of the bar (B7b5 on the and of 4 in bars 2 and 6, Bb6 on the and of 4 in bars 4 and 8): written on the bar they anticipate\n# D: the chords follow the bass rhythms\n\n# bar | chord\n\nsection: Intro\nbars: 8\n1  | Bb6     # tonic: the 4th is in the key\n3  | B7b5    # tritone substitute: resolves down a half step to Bb6\n5  | Bb6     # tonic: the 4th is in the key\n7  | B7b5    # tritone substitute: resolves down a half step to Bb6\n\nsection: A\n1  | Bb6     # tonic: the 4th is in the key\n1  | Cm7     # ii: Dorian, the key’s own notes\n2  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | Ebm7    # a borrowed minor chord: Dorian, its own key\n3  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | G7      # V7\u002Fii in Bb: the b13 is in the key\n4  | Cm7     # ii: Dorian, the key’s own notes\n4  | D7      # V7\u002Fvi in Bb: b9 and b13 are in the key\n5  | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | C#dim7  # passing diminished: C7♭9 without its C, the F7's dominant (Cm7 its ii)\n7  | Cm7     # ii of the ii–V to Bb\n7  | F7      # V7 of Bb: natural tensions\n8  | Bb6     # tonic: the 4th is in the key\n8  | F7b5    # V7 of Bb: the #11 from the symbol\n9  | Bb6     # tonic: the 4th is in the key\n9  | Cm7     # ii: Dorian, the key’s own notes\n10 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | Eb6     # IV: the #4 is the key’s 7th\n11 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n11 | G7      # V7\u002Fii in Bb: the b13 is in the key\n12 | Cm7     # ii: Dorian, the key’s own notes\n12 | D7      # V7\u002Fvi in Bb: b9 and b13 are in the key\n13 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n14 | C#dim7  # passing diminished: C7♭9 without its C, the F7's dominant (Cm7 its ii)\n15 | Cm7     # ii of the ii–V to Bb\n15 | F7      # V7 of Bb: natural tensions\n16 | Bb6     # tonic: the 4th is in the key\n# alt: bar 16 beat 3 (D7)\n\nsection: B\n1  | Gm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Am7b5   # iiø7 of D7#5#9: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | D7#5#9  # extended dominant: V7 of G13#11; b9, #9, #11 and b13 from the symbol\n5  | G13#11  # tritone substitute: resolves down a half step to F#13\n6  | F#13    # ♭VI7 from the parallel minor: Lydian Dominant\n7  | Cm9     # ii of the ii–V to Bb\n8  | F7alt   # from the symbol: altered\n\nsection: C\n1  | Bb6     # tonic: the 4th is in the key\n1  | Cm7     # ii: Dorian, the key’s own notes\n2  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | Ebm7    # a borrowed minor chord: Dorian, its own key\n3  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | G7      # V7\u002Fii in Bb: the b13 is in the key\n4  | Cm7     # ii: Dorian, the key’s own notes\n4  | D7      # V7\u002Fvi in Bb: b9 and b13 are in the key\n5  | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | C#dim7  # passing diminished: C7♭9 without its C, the F7's dominant (Cm7 its ii)\n7  | Cm7     # ii of the ii–V to Bb\n7  | F7      # V7 of Bb: natural tensions\n8  | Bb6     # tonic: the 4th is in the key\n# background echoes (Gm7, C#dim7) at A bars 5–6 and 13–14 and C bars 5–6\n@coda 8\n\nsection: D\nbars: 8\n1  | D7\u002FF#   # V7\u002Fvi in Bb: b9 and b13 are in the key\n1  | Gm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n1  | D7      # V7\u002Fvi in Bb: b9 and b13 are in the key\n2  | Gm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Bdim7   # vii°7 of Cm7: G7♭9 without its root\n3  | Cm7     # ii: Dorian, the key’s own notes\n3  | G7b9    # V7\u002Fii in Bb: the b13 is in the key, the b9 from the symbol\n# bar 3: G7b9 on the and of 4, tied into bar 4; bar 4: Cm7 on beat 3, Gb9 on beat 4; F9 pushed in on the and of 4 of bar 4\n4  | Cm7     # ii: Dorian, the key’s own notes\n4  | Gb9     # tritone substitute: resolves down a half step to F9\n5  | F9      # V7 in Bb, not resolving: natural tensions\n6  | F7b9    # V7 of Bb: the b9 from the symbol\n6  | Bb6     # tonic: the 4th is in the key\n# bar 6: printed F7(b9 b5) on beat 3 (b9b5 is not in the chord syntax: written F7b9), Bb6 on beat 4\n# bars 7–8: solo break (Bb6)\n\nsection: Coda\nbars: 4\n@coda 1\n1  | Bb6     # tonic: the 4th is in the key\n# then N.C.\n",1793484798447]