[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:stompin-at-the-savoy":3},"title: Stompin' at the Savoy\ncomposer: Edgar Sampson\nstyle: Medium\nkey: Db\nform: AABA, 32 bars\nrecording: Chick Webb; The Immortal Chick Webb: Stompin' at the Savoy; Columbia; 1967\nyoutube: kS060bisAXs\n# analysis: 2026-10-19, rules v2; Db\n# recording: recorded 1934-05-18, NYC, Chick Webb's Savoy Orchestra with Edgar Sampson (alto sax, composer-arranger), Mario Bauzá, Taft Jordan, Sandy Williams, John Kirby, matrix W152740 (one take only); first issued on 78 (Columbia 2926-D), first LP Columbia CL 2639 (1967; no earlier LP found); the composer's own band's first recording, over Benny Goodman's 1936 Victor hit; sources: DAHR, Discogs, MusicBrainz, Wikipedia; video: \"Provided to YouTube by Columbia\u002FLegacy\", The World Of Swing, the same take\n\n# bar | chord | scale\n\nsection: A1\n1 | DbMaj7  # tonic: the 4th is in the key\n2 | DbMaj7\n2 | Ab7     # V7 of Db: natural tensions\n3 | DbMaj7  # tonic: the 4th is in the key\n3 | Gb7     # tritone substitute: resolves down a half step to Fm7\n4 | Fm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | Bb7b9   # V7\u002Fii in Db: the b13 is in the key, the b9 from the symbol\n5 | Ebm7    # ii of the ii–V to Db\n6 | Ab7     # V7 of Db: natural tensions\n7 | DbMaj7  # tonic: the 4th is in the key\n7 | Bb7     # V7\u002Fii in Db: the b13 is in the key\n8 | Ebm7    # ii of the ii–V to Db\n8 | Ab7     # V7 of Db: natural tensions\n\nsection: A2\n1 | DbMaj7  # tonic: the 4th is in the key\n2 | DbMaj7\n2 | Ab7     # V7 of Db: natural tensions\n3 | DbMaj7  # tonic: the 4th is in the key\n3 | Gb7     # tritone substitute: resolves down a half step to Fm7\n4 | Fm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | Bb7b9   # V7\u002Fii in Db: the b13 is in the key, the b9 from the symbol\n5 | Ebm7    # ii of the ii–V to Db\n6 | Ab7     # V7 of Db: natural tensions\n7 | DbMaj7  # tonic: the 4th is in the key\n8 | DbMaj7\n8 | Db7     # extended dominant: V7 of Gb7\n\nsection: B\n1 | Gb7     # IV7 in Db, not resolving: the #11 is in the key\n2 | G7      # tritone substitute: resolves down a half step to Gb7\n2 | Gb7     # extended dominant: V7 of B7\n3 | B7      # ♭VII7 from the parallel minor: Lydian Dominant\n4 | D7      # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n4 | B7      # extended dominant: V7 of E7\n5 | E7      # ♭III7 from the parallel minor: Lydian Dominant\n6 | F7      # tritone substitute: resolves down a half step to E7\n6 | E7      # ♭III7 from the parallel minor: Lydian Dominant\n7 | Em7     # ii of A7: Dorian\n7 | A7      # extended ii–V: a side-step, its own key\n8 | Ebm7    # ii of the ii–V to Db\n8 | Ab7     # V7 of Db: natural tensions\n\nsection: A3\nbars: 8\n1 | DbMaj7  # tonic: the 4th is in the key\n2 | DbMaj7\n2 | Ab7     # V7 of Db: natural tensions\n3 | DbMaj7  # tonic: the 4th is in the key\n3 | Gb7     # tritone substitute: resolves down a half step to Fm7\n4 | Fm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | Bb7     # V7\u002Fii in Db: the b13 is in the key\n5 | Ebm7    # ii of the ii–V to Db\n6 | Ab7     # V7 of Db: natural tensions\n7 | DbMaj7  # tonic: the 4th is in the key\n",1793484803609]