[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:hallucinations":3},"title: Hallucinations\naka: Budo\ncomposer: Bud Powell\nstyle: Up\nkey: F\nform: AABCD EEFG, 70 bars\nrecording: Bud Powell; Bud Powell's Moods; Mercury; 1954\nyoutube: ecn1STEYB6k\n# analysis: 2026-10-19, rules v2; F\n# recording: recorded February 1951, NYC, Bud Powell solo piano, matrix 574-5, the composer's own first recording, first issued on Mercury\u002FClef MGC-610 (Discogs 1954; Wikipedia gives 1956), later retitled The Genius of Bud Powell (Verve MGV-8115); Miles Davis recorded it first, as \"Budo\", on 1949-01-21 (Capitol, later Birth of the Cool); sources: jazzdisco, Discogs, Wikipedia; video: \"Provided to YouTube by Universal Music Group\", The Genius Of Bud Powell, the same take (the only issued take)\n# book: Bright bebop. Head: A A B C D; solos on E E F G; after solos, D.C. al Coda (from C bar 8).\n# the pickup before A has no chord; chords the book pushes an eighth before a barline are written in the next bar\n\n# bar | chord\n\nsection: A\n1 | F6      # tonic: the 4th is in the key\n1 | Bb7     # tritone substitute: resolves down a half step to A7\n2 | A7      # extended dominant: each one falls a fifth into the next: natural tensions\n2 | D7      # extended dominant: each one falls a fifth into the next: natural tensions\n2 | G7      # V7 of V7: the dominant of the dominant: natural tensions\n3 | C13b9   # V7 of F: the b9 from the symbol\n4 | F6      # tonic: the 4th is in the key\n4 | F7      # extended dominant: V7 of Bb7\n5 | Bb7     # IV7 in F, not resolving: the #11 is in the key\n5 | Bdim7   # ♯IV°7 to I over its 5th: E7♭9 without its root, the ♯II°7's notes\n6 | F7\u002FC    # I7 in F, not resolving: natural tensions\n6 | D7b5    # extended dominant: V7 of G7sus4; #11 from the symbol\n7 | G7sus4  # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n7 | G7      # V7 of V7: the dominant of the dominant: natural tensions\n7 | C7b9    # V7 of F: the b9 from the symbol\n8 | F6      # tonic: the 4th is in the key\n8 | C7      # V7 of F: natural tensions\n@ending 1 8\n9 | F6      # tonic: the 4th is in the key\n9 | Eb7     # tritone substitute: resolves down a half step to Dm7\n@ending 2 9\n\nsection: B\n1 | Dm7     # ii of the ii–V to C minor\n1 | G7      # V7\u002Fv in F: natural tensions\n2 | Cm7     # ii of the ii–V to Bb minor\n2 | F7      # V7\u002Fiv in F: natural tensions\n3 | Bbm7    # ii of Eb7: Dorian\n3 | Eb7     # extended ii–V: a side-step, its own key\n4 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | D7      # V7\u002Fii in F: the b13 is in the key\n5 | Gm      # ii: Dorian, the key’s own notes\n5 | D7\u002FA    # V7 of the Gm before it: the b13 is in the key\n6 | Bb6     # IV: the #4 is the key’s 7th\n6 | C7      # V7 of F: natural tensions\n7 | F6      # tonic: the 4th is in the key\n7 | D7      # V7\u002Fii in F: the b13 is in the key\n8 | Gm7     # ii of the ii–V to F\n8 | C7      # V7 of F: natural tensions\n\nsection: C\n1 | F6      # tonic: the 4th is in the key\n1 | Bb7     # tritone substitute: resolves down a half step to A7\n2 | A7      # extended dominant: each one falls a fifth into the next: natural tensions\n2 | D7      # extended dominant: each one falls a fifth into the next: natural tensions\n2 | G7      # V7 of V7: the dominant of the dominant: natural tensions\n3 | C13b9   # V7 of F: the b9 from the symbol\n4 | F6      # tonic: the 4th is in the key\n4 | F7      # extended dominant: V7 of Bb7\n5 | Bb7     # IV7 in F, not resolving: the #11 is in the key\n5 | Bdim7   # ♯IV°7 to I over its 5th: E7♭9 without its root, the ♯II°7's notes\n6 | F7\u002FC    # I7 in F, not resolving: natural tensions\n6 | D7b5    # extended dominant: V7 of G7sus4; #11 from the symbol\n7 | G7sus4  # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n7 | G7      # V7 of V7: the dominant of the dominant: natural tensions\n7 | C7b9    # V7 of F: the b9 from the symbol\n8 | F6      # tonic: the 4th is in the key\n# the coda sign stands over the start of bar 8: after solos the Coda replaces it\n@coda 8\n\nsection: D\nbars: 6\n1 | Bm7b5   # iiø7 of E7: Locrian, the key's own notes (its ♭2 is a passing note)\n1 | E7      # V7\u002Fiii in F: b9 and b13 are in the key\n2 | Am7b5   # iiø7 of D7: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | D7      # V7\u002Fii in F: the b13 is in the key\n3 | Gm7b5   # iiø7, borrowed from F minor: Locrian\n4 | B9      # tritone substitute: resolves down a half step to Bb9\n4 | Bb9     # IV7 in F, not resolving: the #11 is in the key\n4 | Gb      # ♭II, borrowed from F Phrygian: Lydian (its ♯11 is in the key)\n4 | F       # tonic: the 4th is in the key\n# book, bar 4 (eighth-note hits): B9 Bb9 Abm Gm Gb F; Abm and Gm left out (at most 4 chords a bar)\n# bars 5–6: solo break; alt (optional): bars 5–6 (F6 | Gm7 C7)\n\nsection: E\n# alternate letter D (4 bars): Bm7b5 E7 | Am7b5 D7 | Gm7 C7 | F6 (solo break)\n1 | F6      # tonic: the 4th is in the key\n# alt: bar 1 (Bm7b5 for F6)\n1 | Bb7     # tritone substitute: resolves down a half step to A7\n2 | A7      # extended dominant: each one falls a fifth into the next: natural tensions\n2 | D7      # extended dominant: each one falls a fifth into the next: natural tensions\n3 | G7      # V7 of V7: the dominant of the dominant: natural tensions\n3 | C7      # V7 of F: natural tensions\n4 | F6      # tonic: the 4th is in the key\n4 | F7      # extended dominant: V7 of Bb7\n5 | Bb7     # IV7 in F, not resolving: the #11 is in the key\n5 | Bdim7   # ♯IV°7 to I over its 5th: E7♭9 without its root, the ♯II°7's notes\n6 | F7\u002FC    # I7 in F, not resolving: natural tensions\n6 | D7      # V7\u002Fii in F: the b13 is in the key\n7 | Gm7     # ii of the ii–V to F\n7 | C7      # V7 of F: natural tensions\n8 | F6      # tonic: the 4th is in the key\n8 | C7      # V7 of F: natural tensions\n@ending 1 8\n9 | F6      # tonic: the 4th is in the key\n# alt (optional): bar 9 (F6 Eb7)\n@ending 2 9\n\nsection: F\n1 | Dm7     # ii of the ii–V to C minor\n1 | G7      # V7\u002Fv in F: natural tensions\n2 | Cm7     # ii of the ii–V to Bb minor\n2 | F7      # V7\u002Fiv in F: natural tensions\n3 | Bbm7    # ii of Eb7: Dorian\n3 | Eb7     # extended ii–V: a side-step, its own key\n4 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | D7      # V7\u002Fii in F: the b13 is in the key\n5 | Gm      # ii: Dorian, the key’s own notes\n5 | D7\u002FA    # V7 of the Gm before it: the b13 is in the key\n6 | Bb6     # IV: the #4 is the key’s 7th\n6 | C7      # V7 of F: natural tensions\n7 | F6      # tonic: the 4th is in the key\n7 | D7      # V7\u002Fii in F: the b13 is in the key\n8 | Gm7     # ii of the ii–V to F\n8 | C7      # V7 of F: natural tensions\n\nsection: G\n1 | F6      # tonic: the 4th is in the key\n# alt: bar 1 (Bm7b5 for F6)\n1 | Bb7     # tritone substitute: resolves down a half step to A7\n2 | A7      # extended dominant: each one falls a fifth into the next: natural tensions\n2 | D7      # extended dominant: each one falls a fifth into the next: natural tensions\n3 | G7      # V7 of V7: the dominant of the dominant: natural tensions\n3 | C7      # V7 of F: natural tensions\n4 | F6      # tonic: the 4th is in the key\n4 | F7      # extended dominant: V7 of Bb7\n5 | Bb7     # IV7 in F, not resolving: the #11 is in the key\n5 | Bdim7   # ♯IV°7 to I over its 5th: E7♭9 without its root, the ♯II°7's notes\n6 | F7\u002FC    # I7 in F, not resolving: natural tensions\n6 | D7      # V7\u002Fii in F: the b13 is in the key\n7 | Gm7     # ii of the ii–V to F\n7 | C7      # V7 of F: natural tensions\n8 | F6      # tonic: the 4th is in the key\n8 | C7      # V7 of F: natural tensions\n@nav 8 D.C. al Coda\n\nsection: Coda\nbars: 8\n@coda 1\n1 | F6      # tonic: the 4th is in the key\n1 | F7      # extended dominant: V7 of Bb7\n2 | Bb7     # IV7 in F, not resolving: the #11 is in the key\n2 | Bdim7   # ♯IV°7 to I over its 5th: E7♭9 without its root, the ♯II°7's notes\n3 | F7\u002FC    # I7 in F, not resolving: natural tensions\n3 | D7b5    # extended dominant: V7 of G7sus4; #11 from the symbol\n4 | G7sus4  # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4 | G7      # tritone substitute: resolves down a half step to Gb7#9\n4 | Gb7#9   # tritone substitute: resolves down a half step to FMaj9; b9 and #9 from the symbol\n# alt (optional): bar 4 (C7b9 before Gb7#9)\n5 | FMaj9   # tonic: the 4th is in the key\n",1793484799994]