[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:nicas-dream":3},"title: Nica's Dream\nsubtitle: Latin and swing\ncomposer: Horace Silver\nstyle: Mixed\nkey: Bbm\nform: AABBC, 64 bars\nrecording: The Jazz Messengers; The Jazz Messengers; Columbia; 1956\nyoutube: 8UZqmNHLbxg\n# analysis: 2026-10-19, rules v2; Bb minor\n# recording: recorded 1956-04-05 (jazzdisco; Wikipedia says April 6), matrix CO55746, Columbia CL 897; the first recording, by the Silver\u002FBlakey co-op Jazz Messengers with Silver on piano (Byrd, Mobley, Watkins, Blakey); Silver recorded it under his own name on Horace-Scope (Blue Note BLP 4042, 1960) (jazzdisco.org, MusicBrainz release group, Wikipedia); video: This Is Jazz #28, the same take\n\n# bar | chord | scale\n\nsection: Intro\nbars: 8\n# area: Bb minor (Intro 1 – A1 8)\n1  | BbmMaj7  # from the symbol: minor-major 7th\n2  | AbmMaj7  # from the symbol: minor-major 7th\n3  | GbMaj7   # a non-tonic major chord: Lydian\n4  | Cm7b5    # iiø7 of Bb minor: Locrian, the key's own notes (its ♭2 is a passing note)\n5  | F7alt    # from the symbol: altered\n7  | Bbm      # tonic minor: Dorian by convention\n\nsection: A1\nbars: 16\n# the tag (BbmMaj7 … F7alt back to Bbm) is the intro, played between solos and for the ending too\n1  | BbmMaj7  # from the symbol: minor-major 7th\n3  | AbmMaj7  # from the symbol: minor-major 7th\n5  | BbmMaj7  # from the symbol: minor-major 7th\n7  | Ebm7     # ii of Ab7: Dorian\n8  | Ab7      # V7\u002FbIII in Bb minor: natural tensions\n# area: Gb major (A1 9–12)\n9  | Abm7     # ii of the ii–V to Gb\n10 | Db7      # V7 of Gb: natural tensions\n11 | GbMaj7   # tonic: the 4th is in the key\n11 | Db9      # tritone substitute: resolves down a half step to C7alt\n12 | C7alt    # from the symbol: altered\n# area: Bb minor (A1 13 – A2 8)\n13 | Cm7b5    # iiø7 of Bb minor: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | F7alt    # from the symbol: altered\n15 | BbmMaj7  # from the symbol: minor-major 7th\n\nsection: A2\ncopy: A1\n\nsection: B1\n1  | Ebm7\u002FAb  # ♭VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2  | Ab7      # V7\u002FbIII in Bb minor: natural tensions\n3  | DbMaj7   # bIII of Bb minor: the relative major itself\n4  | Bb7b9    # extended dominant: V7 of Eb7; b9 from the symbol\n5  | Eb7      # IV7 in Bb minor, not resolving: natural tensions\n# area: Db major (B1 6 – B2 7)\n6  | Ebm7     # ii of the ii–V to Db\n6  | Ab7      # V7 of Db: natural tensions\n7  | DbMaj9   # tonic: the 4th is in the key\n8  | Em7      # ii of A7: Dorian\n8  | A7       # tritone substitute: resolves down a half step to Ebm7\u002FAb\n\nsection: B2\n1  | Ebm7\u002FAb  # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2  | Ab7      # V7 of Db: natural tensions\n3  | DbMaj7   # tonic: the 4th is in the key\n4  | Bb7b9    # extended dominant: V7 of Eb7; b9 from the symbol\n5  | Eb7      # II7 in Db, not resolving: natural tensions\n6  | Ebm7     # ii of the ii–V to Db\n6  | Ab7      # V7 of Db: natural tensions\n7  | DbMaj9   # tonic: the 4th is in the key\n# area: Bb minor (B2 8 – C 8)\n8  | F7alt    # from the symbol: altered\n\nsection: C\ncopy: A1\n",1793484801795]