[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:twisted":3},"title: Twisted\ncomposer: Wardell Gray\nstyle: Medium swing\nkey: C\nform: AABCD, 62 bars\nrecording: Wardell Gray; Wardell Gray Tenor Sax Favorites; Prestige; 1951\nyoutube: jIyNDYEIseY\n# analysis: 2026-10-19, rules v2; C\n# recording: recorded 1949-11-11, NYC, the Wardell Gray Quartet (Al Haig, Tommy Potter, Roy Haynes), take JRC46E; the 78 (New Jazz 817, with Easy Living, 1950) used take D, and take E was first issued on the 10-inch PRLP 115 (1951), then on Memorial Volume One (PRLP 7008, 1955); the first recording of it, the composer leading (jazzdisco, Discogs); video: \"Provided to YouTube by Universal Music Group\", Wardell Gray Memorial, Vol. 1 (OJC), the master take E, the same take (not \"Alternate 1\")\n# form: four 12-bar blues choruses (A repeated with 1st\u002F2nd endings), D extended to 14 bars;\n# D.S. al Coda: play A twice, take the coda from bar 9 the 2nd time\n\n# bar | chord\n\nsection: Intro\nbars: 4\n1  | C       # tonic: the 4th is in the key\n1  | Bb      # ♭VII, borrowed from C minor: Lydian (its ♯11 is in the key)\n1  | Gm      # a borrowed minor chord: Dorian, its own key\n1  | Bb      # ♭VII, borrowed from C minor: Lydian (its ♯11 is in the key)\n2  | Bb\n2  | C       # tonic: the 4th is in the key\n\nsection: A\n1  | C7      # extended dominant: V7 of F7\n2  | F7      # IV7 in C, not resolving: the #11 is in the key\n3  | C7      # extended dominant: V7 of F9#11\n4  | C7\n# alt: bar 4, beat 3 (C7b5)\n5  | F9#11   # IV7 in C, not resolving: the #11 is in the key\n7  | CMaj7   # tonic: the 4th is in the key\n8  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | A7      # V7\u002Fii in C: the b13 is in the key\n9  | Dm7     # ii of the ii–V to C\n10 | G7      # V7 of C: natural tensions\n11 | C6      # tonic: the 4th is in the key\n11 | A7      # V7\u002Fii in C: the b13 is in the key\n12 | Dm7     # ii of G7: Dorian\n12 | G7      # V7\u002FI in C: natural tensions\n13 | Dm7     # ii of G7: Dorian\n13 | G7      # extended dominant: V7 of C7\n# coda bar 3: C6 held, C7 on beat 4 (fermata)\n@ending 1 12\n@ending 2 13\n@segno 1\n@coda 9\n\nsection: B\n1  | C7      # extended dominant: V7 of F7\n2  | F7      # IV7 in C, not resolving: the #11 is in the key\n3  | C7      # extended dominant: V7 of F7\n4  | C7\n5  | F7      # IV7 in C, not resolving: the #11 is in the key\n7  | CMaj7   # tonic: the 4th is in the key\n8  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | A7      # V7\u002Fii in C: the b13 is in the key\n9  | Dm7     # ii of the ii–V to C\n10 | G7      # V7 of C: natural tensions\n11 | C6      # tonic: the 4th is in the key\n11 | A7      # V7\u002Fii in C: the b13 is in the key\n12 | Dm7     # ii of G7: Dorian\n12 | G7      # extended dominant: V7 of C7\n\nsection: C\n1  | C7      # extended dominant: V7 of F7\n2  | F7      # IV7 in C, not resolving: the #11 is in the key\n3  | C7      # extended dominant: V7 of F7\n4  | C7\n5  | F7      # IV7 in C, not resolving: the #11 is in the key\n7  | CMaj7   # tonic: the 4th is in the key\n8  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | A7      # V7\u002Fii in C: the b13 is in the key\n9  | Dm7     # ii of the ii–V to C\n10 | G7      # V7 of C: natural tensions\n11 | C6      # tonic: the 4th is in the key\n11 | A7      # V7\u002Fii in C: the b13 is in the key\n12 | Dm7     # ii of G7: Dorian\n12 | G7      # extended dominant: V7 of C7\n\nsection: D\nbars: 15\n1  | C7      # extended dominant: V7 of F7\n2  | F7      # IV7 in C, not resolving: the #11 is in the key\n3  | C7      # extended dominant: V7 of F7\n4  | C7\n5  | F7      # IV7 in C, not resolving: the #11 is in the key\n7  | CMaj7   # tonic: the 4th is in the key\n8  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | Ebm7    # a borrowed minor chord: Dorian, its own key\n9  | Dm7     # ii of the ii–V to C\n10 | G7      # V7 of C: natural tensions\n11 | C6      # tonic: the 4th is in the key\n11 | Ebdim7  # passing diminished: D7♭9 without its D, the G7's dominant (Dm7 its ii)\n12 | Dm7     # ii of the ii–V to C\n12 | G7      # V7 of C: natural tensions\n13 | C6      # tonic: the 4th is in the key\n# bars 13–14: break\n14 | C6\n@nav 14 D.S. al Coda\n\nsection: Coda\nbars: 4\n1  | G7      # V7 of C: natural tensions\n2  | C6      # tonic: the 4th is in the key\n3  | C7      # I7 in C, not resolving: natural tensions\n",1793484804247]