[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:our-delight":3},"title: Our Delight\ncomposer: Tadd Dameron\nstyle: Medium\nkey: Ab\nform: AABA, 32 bars\nrecording: Fats Navarro; Fats Navarro Memorial Album; Blue Note; 1951\nyoutube: 4_fDRupI2l0\n# analysis: 2026-10-19, rules v2; Ab\n# recording: recorded 1947-09-26 by the Tadd Dameron Sextet with Fats Navarro (master BN306-5), first issued on 78 (Blue Note 540, with The Squirrel), first LP 10\" BLP 5004 (MusicBrainz 1951, jazzdisco 1952); Dizzy Gillespie's big band recorded it first, 1946 (Musicraft) (jazzdisco.org, MusicBrainz release group, Wikipedia); video: The Complete Blue Note and Capitol Recordings, the same take (master, not the alternate)\n\n# bar | chord | scale\n\nsection: A1\n1 | Bb13     # V7 of V7: the dominant of the dominant: natural tensions\n2 | Eb7alt   # from the symbol: altered\n3 | AbMaj7   # tonic: the 4th is in the key\n4 | F7       # extended dominant: V7 of Bb7\n5 | Bb7      # II7 in Ab, not resolving: natural tensions\n6 | Bbm7     # ii: Dorian, the key’s own notes\n6 | Bdim7    # vii°7 to Ab\u002FC, up to its bass: G7♭9 without its root\n7 | Ab\u002FC     # tonic: the 4th is in the key\n7 | Bdim7    # passing diminished: Bb7♭9 without its Bb, the Eb13's dominant (Bbm7 its ii)\n8 | Bbm7     # ii of Eb13: Dorian\n8 | Eb13     # V7\u002FI in Ab: natural tensions\n8 | B7#11    # tritone substitute: resolves down a half step to Bb13\n\nsection: A2\n1 | Bb13     # V7 of V7: the dominant of the dominant: natural tensions\n2 | Eb7alt   # from the symbol: altered\n3 | AbMaj7   # tonic: the 4th is in the key\n4 | F7       # extended dominant: V7 of Bb7\n5 | Bb7      # II7 in Ab, not resolving: natural tensions\n6 | Bbm7     # ii: Dorian, the key’s own notes\n6 | Bdim7    # vii°7 to Ab\u002FC, up to its bass: G7♭9 without its root\n7 | Ab\u002FC     # tonic: the 4th is in the key\n7 | Bdim7    # passing diminished: Bb7♭9 without its Bb, the Eb7sus4's dominant\n8 | Eb7sus4  # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n8 | AbMaj7   # tonic: the 4th is in the key\n\nsection: B\n1 | Ebm7     # ii of the ii–V to Db\n2 | Ab7alt   # from the symbol: altered\n3 | DbMaj7   # the Ab7alt before it makes Db the key of the moment: the 4th is in the key\n5 | Dbm7     # ii of Gb7: Dorian\n5 | Gb7      # extended ii–V: a side-step, its own key\n6 | Cm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | F7       # extended ii–V: a side-step, its own key\n7 | Bm7      # ii of E7: Dorian\n7 | E7       # tritone substitute: resolves down a half step to Eb7\n8 | Eb7      # V7 in Ab, not resolving: natural tensions\n8 | B7#11    # tritone substitute: resolves down a half step to Bb13\n\nsection: A3\ncopy: A2\n",1793484802270]