[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:quintessence":3},"title: Quintessence\ncomposer: Quincy Jones\nstyle: Ballad\nkey: F\nform: AABC, 32 bars\nrecording: Quincy Jones; The Quintessence; Impulse!; 1962\nyoutube: u2hqgJGVMEk\n# analysis: 2026-10-19, rules v2; F\n# recording: recorded 1961-12-22, New York, Quincy Jones and his orchestra with Phil Woods (alto sax), Impulse! A-11, the title track; Jones's own first recording; sources: Wikipedia, jazzdisco; video: \"Provided to YouTube by Universal Music Group\", The Quintessence, the same take\n# book: Med. Ballad (quarter = 57); melody is freely interpreted. Solo on form (AABC); after solos, D.S. al Coda\n\n# bar | chord\n# Intro: a French horn pickup (N.C.), then two bars\n\nsection: Intro\nbars: 4\n# area: F major (Intro 1 – A 3)\n1  | A7#5#9    # extended dominant: V7 of D7b9#9; b9, #9, #11 and b13 from the symbol\n1  | D7b9#9    # VI7 in F, not resolving: the b13 is in the key, b9, #9 and #11 from the symbol\n2  | Eb69\u002FG    # ♭VII6, borrowed from F minor: Lydian (its ♯11 is in the key)\n2  | C9sus4    # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2  | C9        # V7 of F: natural tensions\n\nsection: A\n1  | FMaj7     # tonic: the 4th is in the key\n@segno 1\n1  | F7\u002FA      # V7\u002FIV in F: natural tensions\n2  | Bb6       # the F7\u002FA before it makes Bb the key of the moment: the 4th is in the key\n2  | Bdim7     # ♯IV°7 to I over its 5th: E7♭9 without its root, the ♯II°7's notes\n3  | F\u002FC       # tonic: the 4th is in the key\n# area: A major (A 3–5)\n3  | Bm7b5     # iiø7 of A: Locrian, the key's own notes (its ♭2 is a passing note)\n3  | E7\u002FB      # V7 of A: natural tensions\n4  | AMaj7     # tonic: the 4th is in the key\n5  | Eb7sus4   # ♯IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Ab major (A 5–6)\n5  | Eb7       # V7 of Ab: natural tensions\n5  | AbMaj7    # tonic: the 4th is in the key\n6  | D7sus4    # ♯IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6  | D7       |  | F: V7\u002Fii  # * V7\u002Fii in F: the b13 is in the key\n# area: F major (A 6 – B 2)\n6  | Gm        # ii of C9sus4: Dorian\n7  | C9sus4    # static sus: Mixolydian\n7  | Bbm6      # a minor sixth chord: Dorian\n# book: Bbm6\u002F9\n8  | A13       # extended dominant: each one falls a fifth into the next: natural tensions\n8  | D7#9      # extended dominant: each one falls a fifth into the next: b9, #9 and #11 from the symbol\n8  | G9        # V7 of V7: the dominant of the dominant: natural tensions\n8  | C13       # V7 in F, not resolving: natural tensions\n9  | C9sus4    # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n9  | C13       # V7 of F: natural tensions\n10 | F6        # tonic: the 4th is in the key\n@ending 1 7 8\n@ending 2 9 10\n\nsection: B\n1  | Bbm7      # ii of Eb7: Dorian\n1  | Eb7       # extended ii–V: a side-step, its own key\n2  | Cm7       # a borrowed minor chord: Dorian, its own key\n2  | Bdim7     # passing diminished: Bb7♭9 without its Bb, the Eb13's dominant; not functioning diatonically: the symmetric scale\n# area: Ab major (B 3–8)\n3  | Bbm7      # ii of the ii–V to Ab\n3  | Eb13      # V7 of Ab: natural tensions\n4  | AbMaj7    # tonic: the 4th is in the key\n5  | Gm7b5     # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n5  | C7b9      # V7\u002Fvi in Ab: b9 and b13 are in the key\n6  | FmMaj7    # from the symbol: minor-major 7th\n6  | Fm        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Dm7b5     # iiø7 of G13: Locrian, the key's own notes (its ♭2 is a passing note)\n7  | G13       # V7\u002FIII in Ab: the b9 is in the key, the 13 from the symbol\n8  | C7sus4b9  # from the symbol: sus b9\n# area: F major (B 8 – C 3)\n8  | C13       # V7 of F: natural tensions\n\nsection: C\nbars: 10\n1  | FMaj7     # tonic: the 4th is in the key\n1  | F7\u002FA      # V7\u002FIV in F: natural tensions\n2  | Bb6       # the F7\u002FA before it makes Bb the key of the moment: the 4th is in the key\n2  | Bdim7     # ♯IV°7 to I over its 5th: E7♭9 without its root, the ♯II°7's notes\n3  | F\u002FC       # tonic: the 4th is in the key\n# area: A major (C 3–5)\n3  | Bm7b5     # iiø7 of A: Locrian, the key's own notes (its ♭2 is a passing note)\n3  | E7\u002FB      # V7 of A: natural tensions\n4  | AMaj7     # tonic: the 4th is in the key\n5  | Eb7sus4   # ♯IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Ab major (C 5–6)\n5  | Eb7       # V7 of Ab: natural tensions\n5  | AbMaj7    # tonic: the 4th is in the key\n6  | D7sus4    # ♯IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6  | D7       |  | F: V7\u002Fii  # * V7\u002Fii in F: the b13 is in the key\n# area: F major (C 6 – Coda 7)\n6  | Gm        # ii of C9sus4: Dorian\n@coda 6\n# book: the coda sign follows Gm at the end of bar 6; on the D.S., to the Coda from here\n7  | C9sus4    # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n7  | C13       # V7 of F: natural tensions\n8  | F6        # tonic: the 4th is in the key\n# alt (optional): bar 8 (Gm7 C7) on beats 3–4, the turnaround\n@nav 8 D.S. al Coda\n\nsection: Coda\nbars: 8\n1  | C9sus4    # static sus: Mixolydian\n1  | E7#5#9    # V7 of A7, on the way to G minor: the b13 is in the key, b9, #9 and #11 from the symbol\n2  | A7        # V7 of D7b9, on the way to G minor: b9 and b13 are in the key\n2  | D7b9      # V7 of G minor, the chain's last link: b9 and b13 are in the key\n3  | Gm7       # ii of C13: Dorian\n3  | C13       # V7\u002FI in F: natural tensions\n# bar 3: C13 with a fermata; bar 4: N.C. (alto cadenza, then a French horn pickup)\n5  | A7#5#9    # extended dominant: V7 of D7b9#9; b9, #9, #11 and b13 from the symbol\n5  | D7b9#9    # VI7 in F, not resolving: the b13 is in the key, b9, #9 and #11 from the symbol\n6  | Eb69\u002FG    # ♭VII6, borrowed from F minor: Lydian (its ♯11 is in the key)\n6  | C9sus4    # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6  | C9        # V7 of F: natural tensions\n7  | FMaj7     # tonic: the 4th is in the key\n# bar 7: FMaj7 with a fermata (alto fill)\n",1793484802556]