[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:west-coast-blues":3},"title: West Coast Blues\ncomposer: Wes Montgomery\n# book: John L. \"Wes\" Montgomery\nstyle: Jazz waltz\nkey: Bb\nform: AB, 48 bars\ntime: 3\u002F4\ncontext: blues\nrecording: Wes Montgomery; The Incredible Jazz Guitar of Wes Montgomery; Riverside; 1960\nyoutube: VSkVxeJTiX8\n# analysis: 2026-10-22, rules v2; Bb, blues\n# book: Medium Jazz Waltz, quarter = 152. A is the head (a 24-bar blues in 3\u002F4, guitar), B the solo changes;\n# repeat signs around each. After solos, D.C. al Coda (coda sign at the end of bar 24). Bass walks for solos, not head.\n# Coda: the B7sus is pushed an eighth ahead of bars 4 and 8 (written in those bars).\n\n# bar | chord\n\nsection: A\n1  | Bb7        # I7 of the blues: a tonic with dominant color, Mixolydian\n3  | Ab7        # ♭VII7 from the parallel minor: Lydian Dominant\n5  | Bb7        # I7 of the blues: a tonic with dominant color, Mixolydian\n7  | Bm7        # ii of E7: Dorian\n8  | E7         # tritone substitute: resolves down a half step to Eb7\n9  | Eb7        # IV7 of the blues: a subdominant with dominant color, Mixolydian (the #11 is an extra color)\n13 | Bb7        # I7 of the blues: a tonic with dominant color, Mixolydian\n17 | F7         # V7 of the blues: a dominant that needn’t resolve, Mixolydian\n19 | Eb7        # IV7 of the blues: a subdominant with dominant color, Mixolydian (the #11 is an extra color)\n21 | Bb7        # I7 of the blues: a tonic with dominant color, Mixolydian\n# bar 24: Bb7 held from bar 21, repeated for the coda sign\n24 | Bb7\n@coda 24\n\nsection: B\n1  | Bb7\n3  | Ab7        # ♭VII7 from the parallel minor: Lydian Dominant\n5  | Bb7        # I7 of the blues: a tonic with dominant color, Mixolydian\n7  | Bm7        # ii of E7: Dorian\n8  | E7         # tritone substitute: resolves down a half step to Eb7\n9  | Eb7        # IV7 of the blues: a subdominant with dominant color, Mixolydian (the #11 is an extra color)\n11 | Ebm7       # ii of Ab7: Dorian\n12 | Ab7        # extended ii–V: a side-step, its own key\n13 | Dm7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | G7         # extended ii–V: a side-step, its own key\n15 | C#m7       # ii of F#7: Dorian\n16 | F#7        # extended ii–V: a side-step, its own key\n17 | Cm7        # ii of the ii–V to Bb\n20 | F7         # V7 of Bb: natural tensions\n21 | Bb6        # I of the blues: a triad here implies its ♭7, Mixolydian\n22 | Db7        # V7\u002FbVI in Bb: the #11 is in the key\n23 | Gb6        # ♭VI6, borrowed from Bb minor: Lydian (its ♯11 is in the key)\n24 | F7         # V7 of the blues: a dominant that needn’t resolve, Mixolydian\n@nav 24 D.C. al Coda\n\nsection: Coda\nbars: 12\n@coda 1\n1  | BbMaj7     # tonic: the 4th is in the key\n2  | Abm7       # ii of the ii–V to Gb\n2  | Db7        # V7\u002FbVI in Bb: the #11 is in the key\n3  | GbMaj7     # ♭VImaj7, borrowed from Bb minor: Lydian (its ♯11 is in the key)\n4  | B7sus4     # ♭II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | B7         # tritone substitute: resolves down a half step to BbMaj7\n5  | BbMaj7     # tonic: the 4th is in the key\n6  | Abm7       # ii of the ii–V to Gb\n6  | Db7        # V7\u002FbVI in Bb: the #11 is in the key\n7  | GbMaj7     # ♭VImaj7, borrowed from Bb minor: Lydian (its ♯11 is in the key)\n8  | B7sus4     # ♭II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | B7         # tritone substitute: resolves down a half step to BbMaj9#11\n9  | BbMaj9#11  # from the symbol: #11\n",1793484804541]