[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:gemini":3},"title: Gemini\ncomposer: Jimmy Heath\nstyle: Bright jazz waltz\nkey: Eb\ntime: 3\u002F4\nform: ABCD, 112 bars\nrecording: Cannonball Adderley Sextet; The Cannonball Adderley Sextet in New York; Riverside; 1962\nyoutube: k24kf41J7pM\n# analysis: 2026-10-19, rules v2; Eb\n# recording: recorded live 1962-01-12\u002F14, Village Vanguard, NYC, Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones, Louis Hayes, Riverside RLP 404\u002FRLP 9404, also a two-part single (R-4509); the version the chart follows (\"as played by Cannonball Adderley\") (jazzdisco, Wikipedia); video: \"Provided to YouTube by Universal Music Group\", In New York (2005 remaster), the same take (not the Comblain-la-Tour or Half Note versions)\n# book: as played by Cannonball Adderley\n# routing: Intro vamp, A (head), D.S. al solos; solo form is A (once), B (indefinitely, till cue);\n# play C before the 2nd solo and D before the last solo (then to A); after solos, D.S. al Coda.\n# The opening bass-only figure (8 bars, N.C.) is left out: it has no chords. The vamp from the sign follows.\n\n# bar | chord\n\nsection: Intro\nbars: 8\n@segno 1\n1  | Eb       # tonic: the 4th is in the key\n2  | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n3  | Eb       # tonic: the 4th is in the key\n4  | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n@ending 1 4\n5  | Db\n@ending 2 5\n\nsection: A\n1  | Eb       # tonic: the 4th is in the key\n2  | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n3  | Eb       # tonic: the 4th is in the key\n4  | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n5  | Eb       # tonic: the 4th is in the key\n6  | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n7  | Eb       # tonic: the 4th is in the key\n8  | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n9  | Ebm7     # a borrowed minor chord: Dorian, its own key\n10 | Fm\u002FGb    # ii: Dorian, the key’s own notes\n# horn parts: Ab13 for Fm\u002FGb (bars 10 and 12)\n11 | Ebm7     # a borrowed minor chord: Dorian, its own key\n12 | Fm\u002FGb    # ii: Dorian, the key’s own notes\n13 | Eb       # tonic: the 4th is in the key\n14 | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n15 | Eb       # tonic: the 4th is in the key\n15 | G7#5#9   # extended dominant: each one falls a fifth into the next: b9, #9, #11 and b13 from the symbol\n16 | C7#9     # extended dominant: each one falls a fifth into the next: b9, #9 and #11 from the symbol\n17 | F7b9     # V7 of V7: the dominant of the dominant: the b9 from the symbol\n19 | Bb7#5#9  # V7 of Eb: b9, #9, #11 and b13 from the symbol\n21 | Eb       # tonic: the 4th is in the key\n22 | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n23 | Eb       # tonic: the 4th is in the key\n24 | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n@coda 24\n@nav 24 D.S. al solos\n\nsection: B\n1  | Eb7      # extended dominant: V7 of Ab7\n# alt (optional): bar 1 (Eb7#9)\n9  | Ab7      # IV7 in Eb, not resolving: the #11 is in the key\n10 | A7       # tritone substitute: resolves down a half step to Ab7\n# alt (optional): bars 10–11 (A7 Ab7); the book's plain chord is Ab7 throughout bars 9–12\n11 | Ab7      # IV7 in Eb, not resolving: the #11 is in the key\n13 | Eb7      # I7 in Eb, not resolving: natural tensions\n# alt (optional): bar 13 (Eb7#9)\n16 | C7#9     # extended dominant: each one falls a fifth into the next: b9, #9 and #11 from the symbol\n17 | F7#9#11  # V7 of V7: the dominant of the dominant: b9, #9 and #11 from the symbol\n19 | Bb7#9    # extended dominant: V7 of Eb7; b9, #9 and #11 from the symbol\n21 | Eb7      # static dominant: its own mode\n# alt (optional): bar 21 (Eb7#9)\n24 | Eb7\n@nav 24 D.S. al Coda\n\nsection: C\nbars: 16\n# C: interlude, played before the 2nd solo\n1  | Eb       # tonic: the 4th is in the key\n# book: Eb bass (pedal under the horn voicings, bars 1–2)\n3  | Eb7      # tritone substitute: resolves down a half step to D7b9\n3  | D7b9     # tritone substitute: resolves down a half step to Db7; b9 from the symbol\n3  | Db7      # tritone substitute: resolves down a half step to C7\n4  | C7       # VI7 in Eb, not resolving: the b13 is in the key\n5  | Bb       # V without its 7th: Mixolydian, the key’s own notes\n# book: Bb bass (pedal under the horn voicings, bars 5–6)\n7  | Bb7      # tritone substitute: resolves down a half step to A7b9\n7  | A7b9     # tritone substitute: resolves down a half step to Ab7; b9 from the symbol\n7  | Ab7      # tritone substitute: resolves down a half step to G7\n8  | G7       # III7 in Eb, not resolving: b9 and b13 are in the key\n# book: G7(add MA7)\n9  | F7#9#11  # V7 of V7: the dominant of the dominant: b9, #9 and #11 from the symbol\n13 | Bb7#9    # V7 of Eb: b9, #9 and #11 from the symbol\n\nsection: D\nbars: 24\n# D: interlude, played before the last solo; repeated (1st time 8va bassa)\n1  | Eb       # tonic: the 4th is in the key\n9  | Ab9sus4  # static sus: Mixolydian\n# book: Ab9sus\n13 | Eb       # tonic: the 4th is in the key\n15 | G7alt    # from the symbol: altered\n16 | C7#9     # extended dominant: each one falls a fifth into the next: b9, #9 and #11 from the symbol\n17 | F13      # V7 of V7: the dominant of the dominant: natural tensions\n19 | Bb7      # extended dominant: V7 of Eb7#9\n21 | Eb7#9    # static dominant: its own mode; b9, #9 and #11 from the symbol\n\nsection: D2\ncopy: D\n\nsection: Coda\nbars: 4\n# Coda: vamp bars 1–2 till cue, then bar 3 on cue (rit., fermata)\n@coda 1\n1  | Eb       # tonic: the 4th is in the key\n1  | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n2  | Eb       # tonic: the 4th is in the key\n2  | Db       # ♭VII, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n3  | Eb       # tonic: the 4th is in the key\n3  | Bbm7     # a borrowed minor chord: Dorian, its own key\n",1793484799855]