[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:skylark":3},"title: Skylark\ncomposer: Hoagy Carmichael\nstyle: Ballad\nkey: Eb\nform: AABA, 32 bars\nrecording: Art Blakey & the Jazz Messengers; Caravan; Riverside; 1963\nyoutube: dqsJ-WS-uOo\n# analysis: 2026-10-19, rules v2; Eb\n# recording: recorded 1962-10-23\u002F24, Plaza Sound Studios, NYC (Freddie Hubbard, Curtis Fuller, Wayne Shorter, Cedar Walton, Reggie Workman), Riverside RLP 438, released 1963; songbook standard → the instrumental reading, over the Krupa\u002FAnita O'Day 1941 78 and Aretha Franklin (1963); sources: Wikipedia, jazzstandards.com; video: \"Provided to YouTube by Universal Music Group\", Caravan (Craft Recordings), the same take\n# book: Med. Ballad\n# the book's letters: A (16 bars, the two A strains), B, C (the last A)\n\n# bar | chord\n\nsection: A\n# area: Eb major (A 1 – B 7)\n1  | Eb6     # tonic: the 4th is in the key\n1  | Fm7     # ii: Dorian, the key’s own notes\n2  | Eb\u002FG    # tonic: the 4th is in the key\n2  | AbMaj7  # IV: the #4 is the key’s 7th\n3  | EbMaj7  # tonic: the 4th is in the key\n3  | A7      # tritone substitute: resolves down a half step to AbMaj7\n# alt: bar 3 (Gm7 Cm7 Bbm7 Eb7)\n4  | AbMaj7  # the A7 before it makes Ab the key of the moment: the 4th is in the key\n4  | Eb\u002FG    # tonic: the 4th is in the key\n# alt: bar 4 (AbMaj7 Gm7 Gb13)\n5  | AbMaj7  # IV: the #4 is the key’s 7th\n# alt: bar 5 (F7) for AbMaj7\n5  | Eb\u002FG    # tonic: the 4th is in the key\n6  | F7      # V7 of V7: the dominant of the dominant: natural tensions\n# alt: bar 6 (Fm7) for F7\n6  | Bb7     # V7 of Eb: natural tensions\n7  | Eb6     # tonic: the 4th is in the key\n7  | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | AbMaj7  # IV: the #4 is the key’s 7th\n# alt: bar 8 (F13) for AbMaj7\n8  | Fm7     # ii of the ii–V to Eb\n8  | Bb7     # V7 of Eb: natural tensions\n9  | Eb6     # tonic: the 4th is in the key\n9  | Fm7     # ii: Dorian, the key’s own notes\n10 | Eb\u002FG    # tonic: the 4th is in the key\n10 | AbMaj7  # IV: the #4 is the key’s 7th\n11 | EbMaj7  # tonic: the 4th is in the key\n11 | A7      # tritone substitute: resolves down a half step to AbMaj7\n# alt: bar 11 (Gm7 Cm7 Bbm7 Eb7)\n12 | AbMaj7  # the A7 before it makes Ab the key of the moment: the 4th is in the key\n12 | Eb\u002FG    # tonic: the 4th is in the key\n# alt: bar 12 (AbMaj7 Gm7 Gb13)\n13 | AbMaj7  # IV: the #4 is the key’s 7th\n# alt: bar 13 (F7) for AbMaj7\n13 | Eb\u002FG    # tonic: the 4th is in the key\n14 | F7      # V7 of V7: the dominant of the dominant: natural tensions\n# alt: bar 14 (Fm7) for F7\n14 | Bb7     # V7 of Eb: natural tensions\n15 | Eb6     # tonic: the 4th is in the key\n15 | Bb7#9   # V7 of Eb: b9, #9 and #11 from the symbol\n16 | Eb6     # tonic: the 4th is in the key\n\nsection: B\n1  | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n1  | B7      # tritone substitute: resolves down a half step to Bbm7\n2  | Bbm7    # ii of the ii–V to Ab\n2  | Eb7     # V7\u002FIV in Eb: natural tensions\n3  | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n4  | Gm7b5   # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | C7      # V7\u002Fii in Eb: the b13 is in the key\n5  | Fm      # ii: Dorian, the key’s own notes\n# alt: bar 5 (Db7) on beat 3\n6  | Fm\n# alt: bar 6 (Bbm7) for Fm\n6  | Eb7#5   # V7\u002FIV in Eb: #11 and b13 from the symbol\n6  | Ab6     # the Eb7#5 before it makes Ab the key of the moment: the 4th is in the key\n7  | G6      # a non-tonic major chord: Lydian\n# area: G major (B 7–8)\n7  | Em7     # ii of A7: Dorian\n8  | A7      # V7 of V7: the dominant of the dominant: natural tensions\n8  | D7      # V7 of G: natural tensions\n8  | G6      # tonic: the 4th is in the key\n# area: Eb major (B 8 – C 8)\n8  | Bb7     # V7 of Eb: natural tensions\n\nsection: C\n1  | Eb6     # tonic: the 4th is in the key\n1  | Fm7     # ii: Dorian, the key’s own notes\n2  | Eb\u002FG    # tonic: the 4th is in the key\n2  | AbMaj7  # IV: the #4 is the key’s 7th\n3  | EbMaj7  # tonic: the 4th is in the key\n3  | A7      # tritone substitute: resolves down a half step to AbMaj7\n# alt: bar 3 (Gm7 Cm7 Bbm7 Eb7)\n4  | AbMaj7  # the A7 before it makes Ab the key of the moment: the 4th is in the key\n4  | Eb\u002FG    # tonic: the 4th is in the key\n# alt: bar 4 (AbMaj7 Gm7 Gb13)\n5  | AbMaj7  # IV: the #4 is the key’s 7th\n# alt: bar 5 (F7) for AbMaj7\n5  | Eb\u002FG    # tonic: the 4th is in the key\n6  | F7      # V7 of V7: the dominant of the dominant: natural tensions\n# alt: bar 6 (Fm7) for F7\n6  | Bb7     # V7 of Eb: natural tensions\n7  | Eb6     # tonic: the 4th is in the key\n7  | Bb7     # V7 of Eb: natural tensions\n8  | Eb6     # tonic: the 4th is in the key\n# alt (optional): bar 8 (Bb7) on beat 3, the turnaround\n",1793484803187]