[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:line-for-lyons":3},"title: Line for Lyons\ncomposer: Gerry Mulligan\nstyle: Medium swing\nkey: G\nform: AABC, 32 bars\nrecording: Gerry Mulligan Quartet; Gerry Mulligan Quartet; Fantasy; 1952\nyoutube: acIRt7peteg\n# analysis: 2026-10-19, rules v2; G\n# recording: recorded 1952-09-02, probably the Black Hawk, San Francisco, Gerry Mulligan with Chet Baker, Carson Smith, Chico Hamilton, master 9258, the first recording of it; first issued on 78 (Fantasy 522, with Carioca), first LP 10\" Fantasy LP 3-6 (1952); the Mulligan–Desmond quartet remade it in 1957 (jazzdisco, MusicBrainz); video: \"Provided to YouTube by Universal Music Group\", Gerry Mulligan Quartet\u002FChubby Jackson Big Band (Fantasy), \"Line For Lyons (Instrumental)\", the same take\n# book: head is in 2, solos are in 4. Solo on form (AABC); after solos, D.C. al Coda.\n# A is played twice (1st and 2nd endings): bars 1–6, 1st ending 7–8, 2nd ending 9–10.\n\n# bar | chord\n\nsection: A\n1  | G6      # tonic: the 4th is in the key\n1  | G7b9    # V7\u002Fiv in G: the b9 from the symbol\n2  | Cm7     # ii of F7: Dorian\n2  | F7      # extended ii–V: a side-step, its own key\n3  | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | E7      # V7\u002Fii in G: the b13 is in the key\n4  | Am7     # ii of the ii–V to G\n4  | D7      # V7 of G: natural tensions\n5  | GMaj7   # tonic: the 4th is in the key\n5  | E7      # V7\u002Fii in G: the b13 is in the key\n6  | Am7     # ii of the ii–V to G\n6  | D7      # V7 of G: natural tensions\n7  | G6      # tonic: the 4th is in the key\n7  | E7      # V7\u002Fii in G: the b13 is in the key\n8  | Am7     # ii of the ii–V to G\n8  | D7      # V7 of G: natural tensions\n@ending 1 7 8\n9  | G6      # tonic: the 4th is in the key\n10 | G6\n# alt (optional): bar 10 (G7)\n@ending 2 9 10\n\nsection: B\n1  | CMaj7   # IV: the #4 is the key’s 7th\n2  | C#m7b5  # iiø7 of B minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | F#7b9   # V7\u002Fiii in G: b9 and b13 are in the key\n3  | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Bm7\n4  | E7b9    # V7\u002Fii in G: the b13 is in the key, the b9 from the symbol\n5  | Am7     # ii of D7b9: Dorian\n6  | Am7\n6  | D7b9    # V7\u002FI in G: the b9 from the symbol\n7  | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | E7      # V7\u002Fii in G: the b13 is in the key\n8  | Am7     # ii of the ii–V to G\n8  | D7      # V7 of G: natural tensions\n\nsection: C\nbars: 10\n1  | G6      # tonic: the 4th is in the key\n1  | G7b9    # V7\u002Fiv in G: the b9 from the symbol\n2  | Cm7     # ii of F7: Dorian\n2  | F7      # extended ii–V: a side-step, its own key\n3  | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | E7      # V7\u002Fii in G: the b13 is in the key\n4  | Am7     # ii of the ii–V to G\n4  | D7      # V7 of G: natural tensions\n5  | GMaj7   # tonic: the 4th is in the key\n5  | E7      # V7\u002Fii in G: the b13 is in the key\n6  | Am7     # ii of the ii–V to G\n6  | D7      # V7 of G: natural tensions\n@coda 7\n7  | G6      # tonic: the 4th is in the key\n8  | Am7     # ii of the ii–V to G\n8  | D7      # V7 of G: natural tensions\n@nav 8 D.C. al Coda\n\nsection: Coda\nbars: 8\n@coda 1\n1  | G6      # tonic: the 4th is in the key\n1  | E7      # V7\u002Fii in G: the b13 is in the key\n2  | Am7     # ii of the ii–V to G\n2  | D7      # V7 of G: natural tensions\n3  | G6      # tonic: the 4th is in the key\n3  | E7      # V7\u002Fii in G: the b13 is in the key\n4  | Am7     # ii of the ii–V to G\n4  | D7      # V7 of G: natural tensions\n5  | GMaj7   # tonic: the 4th is in the key\n# bar 5: fermata\n",1793484800874]