[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:waltz-for-debby":3},"title: Waltz for Debby\ncomposer: Bill Evans\nstyle: Jazz waltz\nkey: F\nform: ABC, 80 bars\ntime: 3\u002F4\nrecording: Bill Evans Trio; Waltz for Debby; Riverside; 1962\nyoutube: wCINvavqFXk\n# analysis: 2026-10-19, rules v2; F\n# recording: recorded live at the Village Vanguard 1961-06-25 (Scott LaFaro, Paul Motian), the LP take, RLP 399; the trio's full form with solos, as the chart is laid out; Evans's first recording of it is a 1:19 solo-piano statement of the theme on New Jazz Conceptions (RLP 12-223, rec. 1956) (jazzdisco.org, Wikipedia)\n# book: Medium Jazz Waltz. Repeat signs around the form (A–C) (head, then solos in 3\u002F4 on the same form, taking the\n# standard ending each time and ignoring the inversions, e.g. bars 5–12). After solos, D.C. al Coda (coda at C bar 29).\n# C bars 21–32 are the book's \"Standard ending\" (the end of the form).\n# the book also prints an \"Alternate ending\" (for soloing in 4\u002F4, taken the first time through), in place of C bars 21–32:\n# 3\u002F4: Dm7 | G7alt | then 4\u002F4: FMaj7\u002FC Abdim7\u002FC | Gm7\u002FC Abdim7\u002FC | FMaj7 Abdim7 Gm7 | Gm7 Abdim7 | FMaj7 Abdim7 |\n# Gm7 Abdim7 | FMaj7 Abdim7 Gm7 C7b9 | (C pedal) → the 4\u002F4 solo chorus.\n# the book's 4\u002F4 solo chorus (letters D–F, 40 bars of 4\u002F4, two chords a bar) is this form at half the bar count, with\n# the inversions dropped and these differences: A bar 1 (and C bar 1) Am7 for FMaj7\u002FA; A bars 29–32 AMaj7; B bar 8 Cm7;\n# B bar 12 G7; F bars 11–12 G7 Abdim7 | Am7 Abdim7 for C bars 23–26.\n# 4\u002F4 solo chorus as printed:\n# D: Am7 Dm7 | Gm7 C7 | A7 D7 | G7 C7 | F7 Bb6 | Gm7b5 C7 | Am7 Dm7 | Gm7 C7 | Am7 Dm7 | Gm7 C7 | A7 D7 | G7 C7 |\n#    A7 Dm7 | B7 E7 | AMaj7 | AMaj7 |\n# E: Gm7 C7 | Am7 D7 | Gm7 A7 | Dm7 Cm7 | BbMaj7 A7 | Dm7 G7 | AbMaj7 DbMaj7 | Gm7 C7 |\n# F: Am7 Dm7 | Gm7 C7 | A7 D7 | G7 C7 | F7 Bb6 | Gm7b5 C7 | Am7 D7 | Bm7 E7 | Am7 F7 | BbMaj7 A7alt | Dm7 |\n#    G7 Abdim7 | Am7 Abdim7 | Gm7 C7 | F6 Dm7 | Gm7 C7 :|\n\n# bar | chord\n\nsection: A\n# area: F major (A 1–26)\n1  | FMaj7\u002FA   # tonic: the 4th is in the key\n# alt (solos): bar 1 (Am7)\n2  | Dm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Gm7       # ii of C7: Dorian\n4  | C7        # V7\u002FI in F: natural tensions\n5  | A7\u002FG      # extended dominant: each one falls a fifth into the next: natural tensions\n6  | D7\u002FF#     # extended dominant: each one falls a fifth into the next: natural tensions\n7  | G7\u002FF      # V7 of V7: the dominant of the dominant: natural tensions\n8  | C7\u002FE      # extended dominant: V7 of F7\u002FEb\n9  | F7\u002FEb     # V7\u002FIV in F: natural tensions\n10 | Bb6\u002FD     # the F7\u002FEb before it makes Bb the key of the moment: the 4th is in the key\n11 | Gm7b5\u002FDb  # iiø7 of C7: Locrian, the key's own notes (its ♭2 is a passing note)\n12 | C7        # extended ii–V: a side-step, its own key: b9 and b13 are in the key\n12 | C7\u002FBb     # V7 in F, not resolving: natural tensions\n13 | Am7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | Dm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n15 | Gm7       # ii of the ii–V to F\n16 | C7        # V7 of F: natural tensions\n17 | FMaj7\u002FA   # tonic: the 4th is in the key\n# alt (solos): bar 17 (Am7)\n18 | Dm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n19 | Gm7       # ii of C7: Dorian\n20 | C7        # V7\u002FI in F: natural tensions\n21 | A7\u002FC#     # extended dominant: each one falls a fifth into the next: natural tensions\n22 | D7\u002FC      # extended dominant: each one falls a fifth into the next: natural tensions\n23 | G7\u002FB      # V7 of V7: the dominant of the dominant: natural tensions\n24 | C7\u002FBb     # V7 in F, not resolving: natural tensions\n25 | A7        # V7\u002Fvi in F: b9 and b13 are in the key\n26 | Dm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: A major (A 27–32)\n27 | B7        # V7 of V7: the dominant of the dominant: natural tensions\n28 | E7        # V7 of A: natural tensions\n29 | A\u002FC#      # tonic: the 4th is in the key\n30 | Bm7       # ii: Dorian, the key’s own notes\n31 | AMaj7     # tonic: the 4th is in the key\n32 | AMaj7\u002FG#  # from the symbol: sus b9\n# alt (solos): bars 29–32 (AMaj7)\n\nsection: B\n# area: F major (B 1 – Coda 11)\n1  | Gm7       # ii of C9: Dorian\n2  | C9        # V7\u002FI in F: natural tensions\n3  | Am7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | D7        # V7\u002Fii in F: the b13 is in the key\n5  | Gm7       # ii: Dorian, the key’s own notes\n6  | A7        # V7\u002Fvi in F: b9 and b13 are in the key\n7  | Dm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | Cm9      |  | ii7\u002FIV  # * ii of the ii–V to Bb\n9  | BbMaj7    # IV: the #4 is the key’s 7th\n10 | A7        # V7\u002Fvi in F: b9 and b13 are in the key\n11 | Dm7       # ii of G13: Dorian\n12 | G13       # V7\u002FV in F: natural tensions\n13 | AbMaj7    # ♭IIImaj7, borrowed from F minor: Lydian (its ♯11 is in the key)\n14 | DbMaj7    # ♭VImaj7, borrowed from F minor: Lydian (its ♯11 is in the key)\n15 | Gm7       # ii of the ii–V to F\n16 | C7        # V7 of F: natural tensions\n\nsection: C\n1  | FMaj7\u002FA   # tonic: the 4th is in the key\n# alt (solos): bar 1 (Am7)\n2  | Dm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Gm7       # ii of C7: Dorian\n4  | C7        # V7\u002FI in F: natural tensions\n5  | A7\u002FG      # extended dominant: each one falls a fifth into the next: natural tensions\n6  | D7\u002FF#     # extended dominant: each one falls a fifth into the next: natural tensions\n7  | G7\u002FF      # V7 of V7: the dominant of the dominant: natural tensions\n8  | C7\u002FE      # extended dominant: V7 of F7\u002FEb\n9  | F7\u002FEb     # V7\u002FIV in F: natural tensions\n10 | Bb6\u002FD     # the F7\u002FEb before it makes Bb the key of the moment: the 4th is in the key\n11 | Gm7b5\u002FDb  # iiø7 of C7: Locrian, the key's own notes (its ♭2 is a passing note)\n12 | C7        # extended ii–V: a side-step, its own key: b9 and b13 are in the key\n12 | C7\u002FBb     # V7 in F, not resolving: natural tensions\n13 | Am7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | D7        # extended ii–V: a side-step, its own key\n15 | Bm7       # ii of the ii–V to A minor\n16 | E7        # V7\u002Fiii in F: b9 and b13 are in the key\n17 | Am7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n18 | F7        # V7\u002FIV in F: natural tensions\n19 | BbMaj7    # the F7 before it makes Bb the key of the moment: the 4th is in the key\n20 | A7alt     # from the symbol: altered\n21 | Dm7       # ii of G9: Dorian\n23 | G9        # V7\u002FV in F: natural tensions\n24 | G#dim7    # vii°7 of Am7\u002FC: E7♭9 without its root\n25 | Am7\u002FC     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n26 | Abdim7\u002FC  # passing diminished: G7♭9 without its G, the Gm7\u002FC's dominant\n27 | Gm7\u002FC     # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n28 | C7        # V7 of F: natural tensions\n@coda 29\n29 | F6        # tonic: the 4th is in the key\n30 | Dm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n31 | Gm7       # ii of the ii–V to F\n32 | C7        # V7 of F: natural tensions\n@nav 32 D.C. al Coda\n\nsection: Coda\nbars: 12\n@coda 1\n1  | Am7\u002FC     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | Abdim7\u002FC  # passing diminished: G7♭9 without its G, the Gm7\u002FC's dominant\n3  | Gm7\u002FC     # static sus: Mixolydian\n4  | Abdim7\u002FC  # vii°7 of Am7\u002FC: E7♭9 without its root\n5  | Am7\u002FC     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Abdim7\u002FC  # passing diminished: G7♭9 without its G, the Gm7\u002FC's dominant\n7  | Gm7\u002FC     # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | C7b9      # V7 in F, not resolving: the b9 from the symbol\n9  | GbMaj7    # ♭IImaj7, borrowed from F Phrygian: Lydian (its ♯11 is in the key)\n10 | AMaj7     # a non-tonic major chord: Lydian\n10 | GMaj7     # a non-tonic major chord: Lydian\n10 | C7#9      # V7 of F: b9, #9 and #11 from the symbol\n11 | FMaj9     # tonic: the 4th is in the key\n# Coda bars 11–12: FMaj9 held (fermata)\n",1793484804419]