[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:yardbird-suite":3},"title: Yardbird Suite\ncomposer: Charlie Parker\nstyle: Medium\nkey: C\nform: AABA, 32 bars\nrecording: Charlie Parker; Alternate Masters Vol. 2; Dial; 1954\nyoutube: 7W4zgeAYLrE\n# analysis: 2026-10-19, rules v2; C\n# recording: recorded 1946-03-28, master take 4, first issued on 78 (Dial 1003), first LP 1954 (LP 905; Dial LP 201, 1948, has take 1) (jazzdisco, Wikipedia); video: The Complete Savoy & Dial Master Takes, the same take\n\n# bar | chord | scale\n\nsection: Intro\nbars: 4\n1 | A7#9    # V7\u002Fii in C: the b13 is in the key, b9, #9 and #11 from the symbol\n2 | Dm7     # ii of the ii–V to C\n2 | G7#9    # V7 of C: b9, #9 and #11 from the symbol\n\nsection: A1\n# the melody horn intro is left out; the played intro (A7#9 Dm7 G7#9) is added\n1 | CMaj7   # tonic: the 4th is in the key\n2 | Fm7     # ii of Bb7: Dorian\n2 | Bb7     # extended ii–V: a side-step, its own key\n3 | C7      # I7 in C, not resolving: natural tensions\n3 | Bb7     # tritone substitute: resolves down a half step to A7\n4 | A7      # extended dominant: each one falls a fifth into the next: natural tensions\n5 | D7      # V7 of V7: the dominant of the dominant: natural tensions\n6 | G7      # V7 in C, not resolving: natural tensions\n7 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | A7      # V7\u002Fii in C: the b13 is in the key\n8 | Dm7     # ii of the ii–V to C\n8 | G7      # V7 of C: natural tensions\n\nsection: A2\n1 | CMaj7   # tonic: the 4th is in the key\n2 | Fm7     # ii of Bb7: Dorian\n2 | Bb7     # extended ii–V: a side-step, its own key\n3 | C7      # I7 in C, not resolving: natural tensions\n3 | Bb7     # tritone substitute: resolves down a half step to A7\n4 | A7      # extended dominant: each one falls a fifth into the next: natural tensions\n5 | D7      # V7 of V7: the dominant of the dominant: natural tensions\n6 | G7      # V7 of C: natural tensions\n7 | CMaj7   # tonic: the 4th is in the key\n8 | CMaj7\n8 | B7      # V7\u002Fiii in C: b9 and b13 are in the key\n\nsection: B\n1 | Em      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | F#m7b5  # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | B7alt   # from the symbol: altered\n3 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | A7      # V7\u002Fii in C: the b13 is in the key\n5 | Dm7     # ii: Dorian, the key’s own notes\n6 | Em7b5   # iiø7 of A7alt: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | A7alt   # from the symbol: altered\n7 | D7      # II7 in C, not resolving: natural tensions\n8 | Dm7     # ii of the ii–V to C\n8 | G7      # V7 of C: natural tensions\n\nsection: A3\n1 | CMaj7   # tonic: the 4th is in the key\n2 | Fm7     # ii of Bb7: Dorian\n2 | Bb7     # extended ii–V: a side-step, its own key\n3 | C7      # I7 in C, not resolving: natural tensions\n3 | Bb7     # tritone substitute: resolves down a half step to A7\n4 | A7      # extended dominant: V7 of D7\n5 | D7      # II7 in C, not resolving: natural tensions\n6 | Dm7     # ii of the ii–V to C\n6 | G7      # V7 of C: natural tensions\n7 | CMaj7   # tonic: the 4th is in the key\n7 | A7alt   # from the symbol: altered\n8 | Dm7     # ii of the ii–V to C\n8 | G7alt   # from the symbol: altered\n",1793484804713]