[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:do-nothing-til-you-hear-from-me":3},"title: Do Nothing 'Til You Hear from Me\ncomposer: Duke Ellington\nstyle: Medium ballad\nkey: Bb\nform: AABA, 32 bars\nrecording: Duke Ellington; The Music of Duke Ellington Played by Duke Ellington; Columbia; 1954\n# analysis: 2026-10-19, rules v2; Bb\n# recording: recorded 1947-11-18, first issued on 78 (Columbia 38363, 1948), LP 1954 (CL 558) (Discogs); the 1940 Concerto for Cootie it grew from has other changes, so this is the song's first recording\n\n# bar | chord\n# pickup: (F7)\n\nsection: A\n1  | BbMaj7  # tonic: the 4th is in the key\n# alt: bar 1 beats 3–4 (F7)\n2  | Fm7     # ii of the ii–V to Eb\n2  | Bb7     # V7\u002FIV in Bb: natural tensions\n3  | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n4  | Ebm7    # ii of Ab9#11: Dorian\n4  | Ab9#11  # back door bVII7 to BbMaj7: the #11 is in the key\n5  | BbMaj7  # tonic: the 4th is in the key\n5  | G7#5    # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n6  | C7      # V7 of V7: the dominant of the dominant: natural tensions\n6  | F13     # V7 of Bb: natural tensions\n7  | Bb6     # tonic: the 4th is in the key\n7  | Eb6     # IV: the #4 is the key’s 7th\n7  | Edim7   # passing diminished: C7♭9 without its C, the F9sus4's dominant; not functioning diatonically: the symmetric scale\n8  | F9sus4  # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# book: F9sus\n8  | F7      # V7 of Bb: natural tensions\n9  | BbMaj7  # tonic: the 4th is in the key\n# alt: bar 9 beats 3–4 (F7)\n10 | Fm7     # ii of the ii–V to Eb\n10 | Bb7     # V7\u002FIV in Bb: natural tensions\n11 | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n12 | Ebm7    # ii of Ab9#11: Dorian\n12 | Ab9#11  # back door bVII7 to BbMaj7: the #11 is in the key\n13 | BbMaj7  # tonic: the 4th is in the key\n13 | G7#5    # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n14 | C7      # V7 of V7: the dominant of the dominant: natural tensions\n14 | F13     # V7 of Bb: natural tensions\n15 | Bb6     # tonic: the 4th is in the key\n15 | Eb6     # IV: the #4 is the key’s 7th\n15 | Edim7   # ♯IV°7 to I: A7♭9 without its root, the ♯II°7's notes\n16 | Bb6     # tonic: the 4th is in the key\n# alt: bar 16 beats 3–4 (Abm9 Db13)\n\nsection: B\n1  | GbMaj7  # ♭VImaj7, borrowed from Bb minor: Lydian (its ♯11 is in the key)\n# alt: bars 3–4 (Gb7)\n# alt (book footnote): bars 1–3 (GbMaj7 Abm7 Db7, three times)\n5  | BbMaj7  # tonic: the 4th is in the key\n6  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | G9      # extended dominant: each one falls a fifth into the next: natural tensions\n# alt: bars 6–7 (Gm7 D7 | Gm7 C7)\n7  | C7      # V7 of V7: the dominant of the dominant: natural tensions\n8  | F7      # V7 of Bb: natural tensions\n\nsection: C\n1  | BbMaj7  # tonic: the 4th is in the key\n# alt: bar 1 beats 3–4 (F7)\n2  | Fm7     # ii of the ii–V to Eb\n2  | Bb7     # V7\u002FIV in Bb: natural tensions\n3  | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n4  | Ebm7    # ii of Ab9#11: Dorian\n4  | Ab9#11  # back door bVII7 to BbMaj7: the #11 is in the key\n5  | BbMaj7  # tonic: the 4th is in the key\n5  | G7#5    # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n6  | C7      # V7 of V7: the dominant of the dominant: natural tensions\n6  | F13     # V7 of Bb: natural tensions\n7  | Bb6     # tonic: the 4th is in the key\n7  | Eb6     # IV: the #4 is the key’s 7th\n7  | Edim7   # ♯IV°7 to I: A7♭9 without its root, the ♯II°7's notes\n8  | Bb6     # tonic: the 4th is in the key\n# alt: bar 8 beats 3–4 (F7)\n# book: rhythm section may break on beat 1 of A bar 8 and B bar 8 during the head\n",1793484799187]