[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:lush-life":3},"title: Lush Life\ncomposer: Billy Strayhorn\nstyle: Ballad\nkey: Db\nform: ABCD, 54 bars\nrecording: John Coltrane; Lush Life; Prestige; 1961\nyoutube: RvgRLfxolHU\n# analysis: 2026-10-19, rules v2; Db\n# recording: recorded 1958-01-10, Van Gelder Studio, Hackensack (Donald Byrd, Red Garland, Paul Chambers, Louis Hayes), PRLP 7188, released 1961; the book's chart is as played by John Coltrane (jazzdisco); video: \"Provided to YouTube by Universal Music Group\", the Lush Life album track, the same take\n# book: as played by John Coltrane. A: freely (verse); B: faster; C–D: medium ballad (quarter = 58).\n# routing: A, B, C, D; repeat C–D for solos (double-time feel swing; the first solo begins at D bars 13–14);\n# after solos, D.S. al Coda (from C to D bar 10, then the Coda).\n\n# bar | chord\n\nsection: A\n# area: Db major (A 1–6)\n1  | Db6          # tonic: the 4th is in the key\n1  | Cb9          # back door bVII7 to DbMaj7: the #11 is in the key\n2  | DbMaj7       # tonic: the 4th is in the key\n2  | Cb9          # back door bVII7 to DbMaj7: the #11 is in the key\n3  | DbMaj7       # tonic: the 4th is in the key\n3  | Cb9          # back door bVII7 to DbMaj7: the #11 is in the key\n4  | DbMaj7       # tonic: the 4th is in the key\n4  | Ebm7         # ii: Dorian, the key’s own notes\n4  | Fm7          # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | F#m7         # a borrowed minor chord: Dorian, its own key\n5  | Abm7         # a borrowed minor chord: Dorian, its own key\n5  | D13#11       # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n6  | Fm7          # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n# area: Db minor (A 6–7)\n6  | D9#11        # tritone substitute: resolves down a half step to Dbm6\u002F9\n7  | Dbm6\u002F9       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n# area: Db major (A 7–13)\n7  | D13#11       # tritone substitute: resolves down a half step to Db6\n8  | Db6          # tonic: the 4th is in the key\n8  | Cb9          # back door bVII7 to DbMaj7: the #11 is in the key\n9  | DbMaj7       # tonic: the 4th is in the key\n9  | Cb9          # back door bVII7 to DbMaj7: the #11 is in the key\n10 | DbMaj7       # tonic: the 4th is in the key\n10 | Cb9          # back door bVII7 to DbMaj7: the #11 is in the key\n11 | DbMaj7       # tonic: the 4th is in the key\n11 | Ebm7         # ii: Dorian, the key’s own notes\n11 | Fm7          # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n11 | F#m7         # a borrowed minor chord: Dorian, its own key\n12 | Abm7         # a borrowed minor chord: Dorian, its own key\n12 | D13#11       # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n13 | Fm7          # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n# area: Db minor (A 13–14)\n13 | D9#11        # tritone substitute: resolves down a half step to Dbm6\u002F9\n14 | Dbm6\u002F9       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n# area: Db major (A 14)\n14 | Gm7b5        # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | C7           # V7\u002Fiii in Db: b9 and b13 are in the key\n\nsection: B\nkey: Fm\n# area: F minor (B 1–7)\n1  | Fm           # tonic minor: Dorian by convention\n1  | Fm6          # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n2  | Fm           # tonic minor: Dorian by convention\n2  | Fm7          # tonic minor: Dorian by convention\n3  | Fm           # tonic minor: Dorian by convention\n4  | Gm7b5        # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | C7           # V7 of F minor: b9 and b13 are in the key\n5  | Fm           # tonic minor: Dorian by convention\n5  | Fm6          # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n6  | Fm           # tonic minor: Dorian by convention\n6  | Fm7          # tonic minor: Dorian by convention\n7  | Fm           # tonic minor: Dorian by convention\n@key 8 Db\n# area: Db major (B 8 – Coda 2)\n8  | Ab13         # V7 in Db, not resolving: natural tensions\n9  | B9b5         # tritone substitute: resolves down a half step to Bb9\n# slower from bar 9\n10 | Bb9          # V7\u002Fii in Db: the b13 is in the key\n11 | Ebm7         # ii: Dorian, the key’s own notes\n12 | A9b5         # ♭VI7 from the parallel minor: Lydian Dominant\n13 | Ebm7(add11)  # ii: Dorian, the key’s own notes\n14 | D13#11       # tritone substitute: resolves down a half step to DbMaj7\n\nsection: C\nkey: Db\n@segno 1\n1  | DbMaj7       # tonic: the 4th is in the key\n1  | D13#11       # tritone substitute: resolves down a half step to DbMaj7\n2  | DbMaj7       # tonic: the 4th is in the key\n2  | D13#11       # tritone substitute: resolves down a half step to Db6\n3  | Db6          # tonic: the 4th is in the key\n3  | F#m7         # ii of the ii–V to E\n3  | B13          # V7\u002FbIII in Db: the #11 is in the key\n4  | EMaj7        # ♭IIImaj7, borrowed from Db minor: Lydian (its ♯11 is in the key)\n4  | D13#11       # tritone substitute: resolves down a half step to DbMaj7\n5  | DbMaj7       # tonic: the 4th is in the key\n5  | D13#11       # tritone substitute: resolves down a half step to DbMaj7\n6  | DbMaj7       # tonic: the 4th is in the key\n6  | D13#11       # tritone substitute: resolves down a half step to Db6\n7  | Db6          # tonic: the 4th is in the key\n7  | Db9          # tritone substitute: resolves down a half step to C13\n7  | C13          # V7\u002FIII in Db: the b9 is in the key, the 13 from the symbol\n8  | FMaj7        # a non-tonic major chord: Lydian\n8  | A13          # tritone substitute: resolves down a half step to AbMaj7\n9  | AbMaj7       # a non-tonic major chord: Lydian\n9  | Eb7#5#9      # V7\u002FV in Db: b9, #9, #11 and b13 from the symbol\n10 | AbMaj7       # a non-tonic major chord: Lydian\n10 | Em7          # ii of the ii–V to D\n10 | A7           # V7\u002FbII in Db: b9 and #11 are in the key\n11 | DMaj7        # ♭IImaj7, borrowed from Db Phrygian: Lydian (its ♯11 is in the key)\n11 | Dm7          # ii of the ii–V to C\n11 | G7           # V7\u002FVII in Db: b9 and b13 are in the key\n12 | CMaj7        # a non-tonic major chord: Lydian\n12 | Ab13         # V7 of Db: natural tensions\n\nsection: D\nkey: Db\nbars: 16\n1  | DbMaj7       # tonic: the 4th is in the key\n1  | D13#11       # tritone substitute: resolves down a half step to DbMaj7\n2  | DbMaj7       # tonic: the 4th is in the key\n2  | D13#11       # tritone substitute: resolves down a half step to Db6\n3  | Db6          # tonic: the 4th is in the key\n3  | C7#9#11      # tritone substitute: resolves down a half step to B13; b9 and #9 from the symbol\n3  | B13          # ♭VII7 from the parallel minor: Lydian Dominant\n4  | Fm7(add11)   # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Bb7          # extended ii–V: a side-step, its own key\n5  | F#m9         # ii of B13: Dorian\n5  | B13          # extended ii–V: a side-step, its own key\n6  | A9#5         # tritone substitute: resolves down a half step to Ab13; b13 from the symbol\n6  | Ab13         # V7 of Db: natural tensions\n7  | DbMaj7       # tonic: the 4th is in the key\n7  | Gb13         # tritone substitute: resolves down a half step to Fm7\n8  | Fm7          # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | Bb7          # extended ii–V: a side-step, its own key\n9  | F#m9         # ii of B13: Dorian\n9  | B13          # extended ii–V: a side-step, its own key\n10 | A9#5         # tritone substitute: resolves down a half step to Ab13; b13 from the symbol\n10 | Ab13         # V7 in Db, not resolving: natural tensions\n@coda 10\n11 | Ab7#9        # V7 in Db, not resolving: b9, #9 and #11 from the symbol\n11 | A7#9         # ♭VI7 from the parallel minor: Lydian Dominant; b9 and #9 from the symbol\n11 | Bb7#9        # VI7 in Db, not resolving: the b13 is in the key, b9, #9 and #11 from the symbol\n11 | B7#9         # ♭VII7 from the parallel minor: Lydian Dominant; b9 and #9 from the symbol\n12 | C7#9         # VII7 in Db, not resolving: the b13 is in the key, b9, #9 and #11 from the symbol\n12 | D13#11       # tritone substitute: resolves down a half step to DbMaj7\n12 | DbMaj7       # tonic: the 4th is in the key\n12 | Ab13         # V7 of Db: natural tensions\n13 | DbMaj7       # tonic: the 4th is in the key\n13 | D13#11       # tritone substitute: resolves down a half step to DbMaj7\n14 | DbMaj7       # tonic: the 4th is in the key\n14 | D13#11       # tritone substitute: resolves down a half step to Db6\n@nav 14 D.S. al Coda\n\nsection: Coda\nkey: Db\nbars: 4\n@coda 1\n1  | Ab7#9        # V7 in Db, not resolving: b9, #9 and #11 from the symbol\n1  | A7#9         # ♭VI7 from the parallel minor: Lydian Dominant; b9 and #9 from the symbol\n1  | Bb7#9        # VI7 in Db, not resolving: the b13 is in the key, b9, #9 and #11 from the symbol\n1  | B7#9         # ♭VII7 from the parallel minor: Lydian Dominant; b9 and #9 from the symbol\n2  | C7#9         # VII7 in Db, not resolving: the b13 is in the key, b9, #9 and #11 from the symbol\n2  | D13#11       # tritone substitute: resolves down a half step to DbMaj7\n2  | DbMaj7       # tonic: the 4th is in the key\n# molto rit.; fermata on the last chord\n",1793484801065]