[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:cubano-chant":3},"title: Cubano Chant\ncomposer: Ray Bryant\nstyle: Medium up Latin\nkey: Ebm\nform: ABCDEF, 64 bars\nrecording: Ray Bryant; Ray Bryant Trio; Epic; 1956\n# analysis: 2026-10-19, rules v2; Eb minor\n# recording: recorded 1956-05-03, New York, Ray Bryant with Wyatt Ruther, Jo Jones and Candido (congas), Epic LN 3279, the album's opener; Bryant's own first recording (Cal Tjader recorded it first, 1955-11-11), over his trio remake on Con Alma (Columbia, 1961); sources: jazzdisco, Wikipedia; no video: the only uploads of this take are unofficial or from a budget reissue label\n# head ABC; solos on D D E F (D has 1st\u002F2nd endings); after solos, D.S. al Coda\n# chords pushed an eighth early are written on the bar they land in\n\n# bar | chord\n# the intro starts with a piano pickup; it repeats with 1st\u002F2nd endings\n\nsection: Intro\n1  | Ebm      # tonic minor: Dorian by convention\n1  | Fm\u002FBb    # a borrowed minor chord: Dorian, its own key\n2  | Ebm      # tonic minor: Dorian by convention\n2  | Fm\u002FBb    # a borrowed minor chord: Dorian, its own key\n3  | Ebm7     # tonic minor: Dorian by convention\n3  | Ab\u002FBb    # a non-tonic major chord: Lydian\n4  | Bbm\u002FEb   # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n5  | Bbm\u002FEb\n5  | Ab\u002FBb    # a non-tonic major chord: Lydian\n6  | Ebm7     # tonic minor: Dorian by convention\n6  | Fm\u002FBb    # a borrowed minor chord: Dorian, its own key\n7  | Ebm      # tonic minor: Dorian by convention\n7  | Fm\u002FBb    # a borrowed minor chord: Dorian, its own key\n8  | Ebm      # tonic minor: Dorian by convention\n9  | Ebm\n@ending 1 8\n@ending 2 9\n\nsection: A\n1  | N.C.\n@segno 1\n3  | Db       # ♭VII of E♭ minor: D♭ major, the notes of E♭ Dorian\n3  | Ebm      # tonic minor: Dorian by convention\n4  | Bbm7     # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n4  | Ebm      # tonic minor: Dorian by convention\n5  | N.C.\n7  | Db       # ♭VII of E♭ minor: D♭ major, the notes of E♭ Dorian\n7  | Abm7     # iv: Dorian, the key’s own notes\n8  | Bbm7     # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n8  | Ebm      # tonic minor: Dorian by convention\n9  | N.C.\n11 | Db       # ♭VII of E♭ minor: D♭ major, the notes of E♭ Dorian\n11 | Ebm      # tonic minor: Dorian by convention\n12 | Bbm7     # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n12 | Ebm      # tonic minor: Dorian by convention\n13 | N.C.\n15 | Db       # ♭VII of E♭ minor: D♭ major, the notes of E♭ Dorian\n15 | Abm7     # iv: Dorian, the key’s own notes\n16 | Bbm7     # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n16 | Ebm      # tonic minor: Dorian by convention\n\nsection: B\n1  | Abm7     # iv: Dorian, the key’s own notes\n1  | Gb7      # tritone substitute: resolves down a half step to F7\n2  | F7       # V7 of V7: the dominant of the dominant: natural tensions\n2  | Bb7#5    # V7 in Eb minor, not resolving: b9 and b13 are in the key, the #11 from the symbol\n3  | Ab\u002FEb    # a non-tonic major chord: Lydian\n4  | Ebm7     # tonic minor: Dorian by convention\n4  | Eb7      # I7 in Eb minor, not resolving: the b13 is in the key\n5  | Db\u002FAb    # ♭VII of E♭ minor: D♭ major, the notes of E♭ Dorian\n5  | Abm7     # iv: Dorian, the key’s own notes\n5  | Gb7      # tritone substitute: resolves down a half step to F7\n6  | F7       # V7 of V7: the dominant of the dominant: natural tensions\n7  | Bb7      # V7 in Eb minor, not resolving: b9 and b13 are in the key\n7  | F        # a non-tonic major chord: Lydian\n7  | Bb7      # V7 in Eb minor, not resolving: b9 and b13 are in the key\n8  | Gb7      # tritone substitute: resolves down a half step to F7\n8  | F7       # tritone substitute: resolves down a half step to E7\n8  | E7       # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n# bar 8: then a Bb in the bass alone\n\nsection: C\n1  | N.C.\n3  | Db       # ♭VII of E♭ minor: D♭ major, the notes of E♭ Dorian\n3  | Ebm      # tonic minor: Dorian by convention\n4  | Bbm7     # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n4  | Ebm      # tonic minor: Dorian by convention\n5  | N.C.\n7  | Db       # ♭VII of E♭ minor: D♭ major, the notes of E♭ Dorian\n7  | Abm7     # iv: Dorian, the key’s own notes\n8  | Bbm7     # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n8  | Ebm      # tonic minor: Dorian by convention\n9  | Db       # ♭VII of E♭ minor: D♭ major, the notes of E♭ Dorian\n9  | Abm7     # iv: Dorian, the key’s own notes\n10 | Bbm7     # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n10 | Ebm      # ii of Ab7: Dorian\n10 | Ab7      # extended dominant: V7 of Db7\n11 | Db7      # extended dominant: V7 of Gb7\n11 | Gb7      # extended dominant: V7 of B7\n12 | B7       # V7\u002FbII in Eb minor: the #11 is in the key\n12 | EMaj7b5  # a non-tonic major chord: Lydian\n12 | Bb7sus4  # V7sus4 of Ebm6: the b13 is in the key\n# book: Bb7sus (omit 5)\n13 | Ebm6     # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n13 | Cm7b5    # iiø7 of F7#5: Locrian, the key's own notes (its ♭2 is a passing note)\n13 | F7#5     # V7 of V7: the dominant of the dominant: #11 and b13 from the symbol\n13 | Bb7      # extended dominant: V7 of Eb7\n14 | Eb7      # I7 in Eb minor, not resolving: the b13 is in the key\n# bar 14: Eb7 pushed an eighth early from bar 13, then the solo break; the ⊕ (to Coda) is before bar 14\n@coda 14\n\nsection: D\n1  | Ebm7     # tonic minor: Dorian by convention\n1  | Cm7b5    # iiø7 of F7: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | F7       # V7 of V7: the dominant of the dominant, on the way to Eb minor: b9 and b13 are in the key\n2  | Bb7      # V7 of Eb minor, the chain's last link: b9 and b13 are in the key\n3  | Ebm7     # tonic minor: Dorian by convention\n3  | Cm7b5    # iiø7 of F7: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | F7       # V7 of V7: the dominant of the dominant: natural tensions\n4  | Bb7      # extended dominant: V7 of Eb7\n5  | Eb7      # I7 in Eb minor, not resolving: the b13 is in the key\n5  | Eb7\u002FG    # extended dominant: V7 of Ab7\n6  | Ab7      # IV7 in Eb minor, not resolving: natural tensions\n6  | Adim7    # passing diminished: a rootless dominant ♭9; not functioning diatonically: the symmetric scale\n7  | Eb7\u002FBb   # I7 in Eb minor, not resolving: the b13 is in the key\n7  | C7       # extended dominant: each one falls a fifth into the next: natural tensions\n8  | F7       # V7 of V7: the dominant of the dominant: natural tensions\n8  | Bb7      # extended dominant: V7 of Eb7\u002FBb\n9  | Eb7\u002FBb   # I7 in Eb minor, not resolving: the b13 is in the key\n9  | Bb7      # extended dominant: V7 of Eb7\n10 | Eb7      # extended dominant: V7 of Ab7\n@ending 1 7 8\n@ending 2 9 10\n\nsection: E\n1  | Ab7      # IV7 in Eb minor, not resolving: natural tensions\n3  | Eb7      # V7\u002Fiv in Eb minor: the b13 is in the key\n5  | Abm7     # iv: Dorian, the key’s own notes\n5  | Gb7      # tritone substitute: resolves down a half step to F7\n6  | F7       # V7 of V7: the dominant of the dominant: natural tensions\n7  | Bb7      # V7 in Eb minor, not resolving: b9 and b13 are in the key\n7  | Ab7      # IV7 in Eb minor, not resolving: natural tensions\n8  | Gb7      # bIII7 in Eb minor, not resolving: natural tensions\n8  | E7       # tritone substitute: resolves down a half step to Ebm7\n\nsection: F\n1  | Ebm7     # tonic minor: Dorian by convention\n1  | Cm7b5    # iiø7 of F7: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | F7       # V7 of V7: the dominant of the dominant, on the way to Eb minor: b9 and b13 are in the key\n2  | Bb7      # V7 of Eb minor, the chain's last link: b9 and b13 are in the key\n3  | Ebm7     # tonic minor: Dorian by convention\n3  | Cm7b5    # iiø7 of F7: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | F7       # V7 of V7: the dominant of the dominant: natural tensions\n4  | Bb7      # extended dominant: V7 of Eb7\n5  | Eb7      # I7 in Eb minor, not resolving: the b13 is in the key\n5  | Eb7\u002FG    # extended dominant: V7 of Ab7\n6  | Ab7      # IV7 in Eb minor, not resolving: natural tensions\n6  | Adim7    # passing diminished: a rootless dominant ♭9; not functioning diatonically: the symmetric scale\n7  | Eb7\u002FBb   # I7 in Eb minor, not resolving: the b13 is in the key\n7  | C7       # extended dominant: each one falls a fifth into the next: natural tensions\n8  | F7       # V7 of V7: the dominant of the dominant: natural tensions\n8  | Bb7      # V7 in Eb minor, not resolving: b9 and b13 are in the key\n@nav 8 D.S. al Coda\n\nsection: Coda\n# Coda: bar 1 is N.C. until a Bb7sus pickup on its last eighth\n1  | Bb7sus4  # V7sus4 of Ebm6: the b13 is in the key\n# book: Bb7sus (omit 5)\n2  | Ebm6     # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n2  | Cm7b5    # iiø7 of F7#5: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | F7#5     # V7 of V7: the dominant of the dominant: #11 and b13 from the symbol\n2  | Bb7      # extended dominant: V7 of Eb7\n3  | Eb7      # extended dominant: V7 of Ab7\n# bar 3: Eb7 pushed an eighth early from bar 2, then rests, then Ab7 on the last beat\n3  | Ab7      # extended dominant: V7 of Db7\n4  | Db7      # extended dominant: V7 of Gb7\n4  | Gb7      # extended dominant: V7 of B7\n5  | B7       # V7\u002FbII in Eb minor: the #11 is in the key\n5  | EMaj7b5  # a non-tonic major chord: Lydian\n5  | Bb7sus4  # V7sus4 of Ebm6: the b13 is in the key\n# book: Bb7sus (omit 5)\n6  | Ebm6     # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n6  | Cm7b5    # iiø7 of F7#5: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | F7#5     # V7 of V7: the dominant of the dominant: #11 and b13 from the symbol\n6  | Bb7      # extended dominant: V7 of Eb7\n7  | Eb7      # I7 in Eb minor, not resolving: the b13 is in the key\n# bar 7: Eb7 pushed an eighth early from bar 6, held under a fermata (tremolo chord)\n",1793484799018]