[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:i-mean-you":3},"title: I Mean You\ncomposer: Thelonious Monk, Coleman Hawkins\nstyle: Medium swing\nkey: F\nform: AABCD head (36 bars), solos on EEFG (AABA, 32 bars)\nrecording: Thelonious Monk; Genius of Modern Music; Blue Note; 1951\nyoutube: Lov30CfofmQ\n# analysis: 2026-10-19, rules v2; F\n# recording: recorded 1948-07-02, first issued on 78 (Blue Note 1564), LP 1951 (BLP 5002); Coleman Hawkins recorded it first, December 1946 (Wikipedia, jazzdisco); video: Genius Of Modern Music, Vol. 1 (2013)\n# the book: the parenthesised chords at the Intro, A, C and D are the bass's (the piano plays written notes); they are the changes\n# the head ends at D (Fine); solo on E E F G, then D.C. al Fine\n\n# bar | chord\n\nsection: Intro\n1  | Eb7sus4  # ♭VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | Eb13     # back door bVII7 to F6: the #11 is in the key\n\nsection: A\n1  | F6       # tonic: the 4th is in the key\n3  | Db7      # ♭VI7 from the parallel minor: Lydian Dominant\n4  | D7       # V7\u002Fii in F: the b13 is in the key\n5  | Gm7      # ii of C7sus4: Dorian\n6  | C7sus4   # static sus: Mixolydian\n7  | Am7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\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@ending 1 7 8\n9  | F6       # tonic: the 4th is in the key\n10 | F6\n@ending 2 9 10\n\nsection: B\n1  | Db7      # ♭VI7 from the parallel minor: Lydian Dominant, it returns to I\n# alt: bars 1–2 (Eb9)\n3  | F6       # tonic: the 4th is in the key\n5  | Db7      # extended dominant: V7 of Gb7\n7  | Gb7      # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n8  | Gm7      # ii of the ii–V to F\n8  | C7       # V7 of F: natural tensions\n\nsection: C\nbars: 8\n1  | F6       # tonic: the 4th is in the key\n3  | Db7      # ♭VI7 from the parallel minor: Lydian Dominant\n4  | D7       # V7\u002Fii in F: the b13 is in the key\n5  | Gm7      # ii of the ii–V to F\n6  | C7sus4   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n7  | F6       # tonic: the 4th is in the key\n@time 8 2\u002F4\n\nsection: D\n1  | Eb7sus4  # ♭VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | Eb13     # back door bVII7 to F6: the #11 is in the key\n@nav 4 Fine\n# bar 4: Eb13 held with a fermata (hold to end)\n\nsection: E\n1  | F6       # tonic: the 4th is in the key\n3  | Db7      # ♭VI7 from the parallel minor: Lydian Dominant\n4  | D7       # V7\u002Fii in F: the b13 is in the key\n5  | Gm7      # ii of C7: Dorian\n6  | C7       # V7\u002FI in F: natural tensions\n7  | Am7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\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@ending 1 7 8\n9  | F6       # tonic: the 4th is in the key\n10 | F6\n@ending 2 9 10\n\nsection: F\n1  | Db7      # ♭VI7 from the parallel minor: Lydian Dominant, it returns to I\n# alt: bars 1–2 (Eb9)\n3  | F6       # tonic: the 4th is in the key\n5  | Db7      # extended dominant: V7 of Gb7\n7  | Gb7      # a chromatic dominant with nowhere to go: Lydian Dominant, its own 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\n3  | Db7      # ♭VI7 from the parallel minor: Lydian Dominant\n4  | D7       # V7\u002Fii in F: the b13 is in the key\n5  | Gm7      # ii of the ii–V to F\n6  | C7       # V7 of F: natural tensions\n7  | F6       # tonic: the 4th is in the key\n8  | Gm7      # ii of the ii–V to F\n8  | C7       # V7 of F: natural tensions\n@nav 8 D.C. al Fine\n",1793484800183]