[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:mercy-mercy-mercy":3},"title: Mercy, Mercy, Mercy\ncomposer: Josef Zawinul\nstyle: Medium slow funky rock\nkey: Bb\nform: A, 20 bars\nrecording: Cannonball Adderley Quintet; Mercy, Mercy, Mercy! Live at \"The Club\"; Capitol; 1967\nyoutube: W9mYN0Tkoik\n# analysis: 2026-10-19, rules v2; Bb\n# recording: recorded 1966-10-20 before an invited audience at Capitol's Hollywood studio (the sleeve says a Chicago club), Nat Adderley, Joe Zawinul (electric piano), Victor Gaskin, Roy McCurdy, Capitol T-2663, released February 1967; an earlier Tokyo take came out only in Japan (jazzdisco, Wikipedia); video: \"Provided to YouTube by Universal Music Group\", Mercy, Mercy, Mercy! Live at \"The Club\", the same take\n# book: as played by Cannonball Adderley. One unlettered 20-bar section, repeated; last time, after bar 16, to the Coda.\n# bars 9–12: the last chord of each odd bar is pushed on the \"and\" of 4 and held into the next bar\n\n# bar | chord\n\nsection: A\n1  | Bb      # tonic: the 4th is in the key\n1  | Eb\u002FBb   # IV: the #4 is the key’s 7th\n1  | Bb7     # V7\u002FIV in Bb: natural tensions\n2  | Eb      # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n3  | Bb      # tonic: the 4th is in the key\n3  | Eb\u002FBb   # IV: the #4 is the key’s 7th\n3  | Bb7     # V7\u002FIV in Bb: natural tensions\n4  | Eb      # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n5  | Bb      # tonic: the 4th is in the key\n5  | Eb\u002FBb   # IV: the #4 is the key’s 7th\n5  | Bb7     # V7\u002FIV in Bb: natural tensions\n6  | Eb      # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n7  | Bb      # tonic: the 4th is in the key\n7  | Eb\u002FBb   # IV: the #4 is the key’s 7th\n7  | Bb7     # V7\u002FIV in Bb: natural tensions\n8  | Eb      # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n9  | Bb      # tonic: the 4th is in the key\n9  | Eb\u002FBb   # IV: the #4 is the key’s 7th\n9  | Bb7     # V7\u002FIV in Bb: natural tensions\n10 | Eb\u002FBb   # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n10 | Bb      # tonic: the 4th is in the key\n11 | Bb\n11 | Eb\u002FBb   # IV: the #4 is the key’s 7th\n11 | Bb7     # V7\u002FIV in Bb: natural tensions\n12 | Eb\u002FBb   # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n12 | Bb      # tonic: the 4th is in the key\n13 | Bb\n13 | Bb\u002FD    # tonic: the 4th is in the key\n13 | Eb      # IV: the #4 is the key’s 7th\n14 | F       # V without its 7th: Mixolydian, the key’s own notes\n14 | F9sus4  # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n14 | Bb      # tonic: the 4th is in the key\n# book: F9sus; the Bb is pushed on the \"and\" of 4 and held into bar 15\n15 | Bb\u002FD    # tonic: the 4th is in the key\n15 | Eb      # IV: the #4 is the key’s 7th\n16 | F       # V without its 7th: Mixolydian, the key’s own notes\n@coda 16\n17 | Cm7     # ii: Dorian, the key’s own notes\n18 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n19 | Gm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n19 | F       # V without its 7th: Mixolydian, the key’s own notes\n19 | Gm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n19 | F       # V without its 7th: Mixolydian, the key’s own notes\n20 | Gm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n\nsection: Coda\n@coda 1\n1  | Cm7     # ii: Dorian, the key’s own notes\n2  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | Gm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | F       # V without its 7th: Mixolydian, the key’s own notes\n3  | Gm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | F       # V without its 7th: Mixolydian, the key’s own notes\n# molto rit.\n4  | Gm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# fermata; piano fill\n",1793484801344]