[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:sheba":3},"title: Sheba\ncomposer: Clark Terry\nstyle: Ballad\nkey: Bb\nform: AABC, 32 bars\nrecording: Clark Terry's Big-B-A-D-Band; Clark Terry's Big-B-A-D-Band Live! at the Wichita Jazz Festival 1974; Vanguard; 1975\nyoutube: cE6Nt-YzEUk\n# analysis: 2026-10-19, rules v2; Bb\n# recording: recorded live in 1974 at the Wichita Jazz Festival, Clark Terry's big band (Duke Jordan, piano), Vanguard VSD-79355, with Mumbles and Cold 'Tater Stomp; the earliest documented recording of it, the composer leading (BnF, MusicBrainz, AllMusic); video: \"Provided to YouTube by Universal Music Group\", Clark Terry's Big-B-A-D-Band Live!, the same take (not the 1990 Village Gate quintet version)\n\n# bar | chord | scale\n\nsection: A1\n1 | BbMaj7  # tonic: the 4th is in the key\n2 | Fm7     # ii of the ii–V to Eb\n2 | Bb7     # V7\u002FIV in Bb: natural tensions\n3 | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n4 | Ab7     # back door bVII7 to BbMaj7: the #11 is in the key\n5 | BbMaj7  # tonic: the 4th is in the key\n5 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Cm7     # ii of F7: Dorian\n6 | F7      # V7\u002FI in Bb: natural tensions\n7 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | G7      # V7\u002Fii in Bb: the b13 is in the key\n8 | Cm7     # ii of the ii–V to Bb\n8 | F7      # V7 of Bb: natural tensions\n\nsection: A2\n1 | BbMaj7  # tonic: the 4th is in the key\n2 | Fm7     # ii of the ii–V to Eb\n2 | Bb7     # V7\u002FIV in Bb: natural tensions\n3 | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n4 | Ab7     # ♭VII7 from the parallel minor: Lydian Dominant\n5 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5 | G7      # V7\u002Fii in Bb: the b13 is in the key\n6 | Cm7     # ii: Dorian, the key’s own notes\n6 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | EbMaj7  # IV: the #4 is the key’s 7th\n6 | F7      # V7 of Bb: natural tensions\n7 | BbMaj7  # tonic: the 4th is in the key\n7 | Ab7     # back door bVII7 to BbMaj7: the #11 is in the key\n8 | BbMaj7  # tonic: the 4th is in the key\n\nsection: B\n1 | Fm7     # ii of the ii–V to Eb\n2 | Bb7     # V7\u002FIV in Bb: natural tensions\n3 | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n5 | Gm7     # ii of C7: Dorian\n6 | C7      # V7 of V7: the dominant of the dominant: natural tensions\n7 | F7      # V7 in Bb, not resolving: natural tensions\n7 | Gb7     # tritone substitute: resolves down a half step to F7\n8 | F7      # V7 of Bb: natural tensions\n\nsection: C\n1 | BbMaj7  # tonic: the 4th is in the key\n2 | Fm7     # ii of the ii–V to Eb\n2 | Bb7     # V7\u002FIV in Bb: natural tensions\n3 | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n4 | Ebm7    # ii of Ab7: Dorian\n4 | Ab7     # extended ii–V: a side-step, its own key\n5 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Cm7     # ii: Dorian, the key’s own notes\n6 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | EbMaj7  # IV: the #4 is the key’s 7th\n6 | F7      # V7 of Bb: natural tensions\n7 | BbMaj7  # tonic: the 4th is in the key\n7 | Ab7     # back door bVII7 to BbMaj7: the #11 is in the key\n8 | BbMaj7  # tonic: the 4th is in the key\n",1793484803136]