[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:perdido":3},"title: Perdido\ncomposer: Juan Tizol\nstyle: Up\nkey: Bb\nform: AABA, 32 bars\nrecording: Duke Ellington; In a Mellotone; RCA Victor; 1957\nyoutube: npVIPKXLAC8\n# analysis: 2026-10-19, rules v2; Bb\n# recording: recorded 1942-01-21, Chicago, Duke Ellington and His Famous Orchestra (first done as a radio transcription 1941-12-03), matrix BS-070682, first issued on 78 (Victor 27880, with Raincheck); first LP 1957 (LPM-1364); the composer's band's first recording; sources: Wikipedia, DAHR, AllMusic; video: \"Provided to YouTube by RCA Victor\", Greatest Hits, the 1942 Victor recording\n\n# bar | chord | scale\n# the horn intro is a melody line (no chords), so it is left out\n\nsection: A1\n1 | Cm7     # ii of the ii–V to Bb\n2 | F7      # V7 of Bb: natural tensions\n3 | BbMaj7  # tonic: the 4th is in the key\n3 | Eb7     # tritone substitute: resolves down a half step to Dm7\n4 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | G7      # V7\u002Fii in Bb: the b13 is in the key\n5 | Cm7     # ii of the ii–V to Bb\n6 | F7      # V7 of Bb: natural tensions\n7 | BbMaj7  # tonic: the 4th is in the key\n7 | Eb7     # tritone substitute: resolves down a half step to Dm7\n8 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8 | G7      # V7\u002Fii in Bb: the b13 is in the key\n\nsection: A2\n1 | Cm7     # ii of the ii–V to Bb\n2 | F7      # V7 of Bb: natural tensions\n3 | BbMaj7  # tonic: the 4th is in the key\n3 | Eb7     # tritone substitute: resolves down a half step to Dm7\n4 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | G7      # V7\u002Fii in Bb: the b13 is in the key\n5 | Cm7     # ii of the ii–V to Bb\n6 | F7      # V7 of Bb: natural tensions\n7 | BbMaj7  # tonic: the 4th is in the key\n8 | BbMaj7\n8 | Eb7     # tritone substitute: resolves down a half step to D7\n\nsection: B\nbars: 8\n1 | D7      # extended dominant: each one falls a fifth into the next: natural tensions\n3 | G7      # extended dominant: each one falls a fifth into the next: natural tensions\n5 | C7      # V7 of V7: the dominant of the dominant: natural tensions\n7 | F7      # V7 in Bb, not resolving: natural tensions\n\nsection: A3\n1 | Cm7     # ii of the ii–V to Bb\n2 | F7      # V7 of Bb: natural tensions\n3 | BbMaj7  # tonic: the 4th is in the key\n3 | Eb7     # tritone substitute: resolves down a half step to Dm7\n4 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | G7      # V7\u002Fii in Bb: the b13 is in the key\n5 | Cm7     # ii of the ii–V to Bb\n6 | F7      # V7 of Bb: natural tensions\n7 | BbMaj7  # tonic: the 4th is in the key\n8 | Cm7     # ii of F7: Dorian\n8 | F7      # V7\u002FI in Bb: natural tensions\n",1793484802426]