[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:ahmid-6":3},"title: Ahmid-6\ncomposer: Pat Metheny\nstyle: Even 8ths\nkey: C\nform: AB, 57 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A\n# area: C major (A 1–9)\n1  | Dm7        # ii: Dorian, the key’s own notes\n2  | C#m7       # a borrowed minor chord: Dorian, its own key\n3  | Dm7        # ii: Dorian, the key’s own notes\n4  | C#m7       # a borrowed minor chord: Dorian, its own key\n5  | F#m7       # ii of the ii–V to E minor\n5  | B7         # V7\u002Fiii in C: b9 and b13 are in the key\n6  | Em7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | A7         # extended ii–V: a side-step, its own key\n7  | G          # V without its 7th: Mixolydian, the key’s own notes\n7  | F          # IV: the #4 is the key’s 7th\n8  | Em         # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | Dm7        # ii: Dorian, the key’s own notes\n9  | CMaj7      # tonic: the 4th is in the key\n# area: Bb major (A 10–12)\n10 | B7         # tritone substitute: resolves down a half step to BbMaj7#11\n11 | BbMaj7#11  # from the symbol: #11\n12 | Am7b5      # iiø7 of D7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n12 | D7b9       # V7\u002Fvi in Bb: b9 and b13 are in the key\n# area: C major (A 13–15)\n13 | F#m7b5     # iiø7 of B7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n13 | B7b9       # V7\u002Fiii in C: b9 and b13 are in the key\n14 | Em7b5      # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | A7b9       # V7\u002Fii in C: the b13 is in the key, the b9 from the symbol\n15 | Dm7        # ii: Dorian, the key’s own notes\n15 | Em7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n# area: Ab major (A 16–31)\n16 | Fm7        # ii of Bb7: Dorian\n16 | Bb7        # extended dominant: V7 of Eb9sus\n17 | Eb9sus     # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n18 | Eb9sus\n19 | AbMaj9     # tonic: the 4th is in the key\n20 | AbMaj9\n21 | Ab7sus     # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n22 | Ab7sus\n23 | DbMaj9     # IV: the #4 is the key’s 7th\n24 | DbMaj9\n25 | Dm7b5      # iiø7 of C minor: Locrian, the key's own notes (its ♭2 is a passing note)\n25 | G7b9       # V7\u002Fiii in Ab: b9 and b13 are in the key\n26 | Cm7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n26 | F7         # extended ii–V: a side-step, its own key\n27 | Fm7        # ii of Bb7: Dorian\n27 | Bb7        # V7\u002FV in Ab: natural tensions\n28 | Gm7b5      # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n28 | C7#9       # V7\u002Fvi in Ab: the b13 is in the key, b9, #9 and #11 from the symbol\n29 | Fm7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n29 | F#m7       # a borrowed minor chord: Dorian, its own key\n30 | Gm7        # a borrowed minor chord: Dorian, its own key\n30 | Cm7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n31 | F#m7       # ii of the ii–V to E minor\n31 | B7         # V7\u002Fbvi in Ab: the #11 is in the key\n# area: C major (A 32 – B 6)\n32 | Em7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n32 | A7sus      # V7sus4 of Dm7: the b13 is in the key\n33 | A7sus\n34 | A7sus\n35 | A7sus\n@time 31 3\u002F4\n@time 33 2\u002F4\n@time 34 4\u002F4\n\nsection: B\n1  | Dm7        # ii: Dorian, the key’s own notes\n2  | C#m7       # a borrowed minor chord: Dorian, its own key\n3  | Dm7        # ii: Dorian, the key’s own notes\n4  | C#m7       # a borrowed minor chord: Dorian, its own key\n5  | F#m7       # ii of the ii–V to E minor\n5  | B7         # V7\u002Fiii in C: b9 and b13 are in the key\n6  | Em7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | A7         # extended ii–V: a side-step, its own key\n# area: G major (B 7–9)\n7  | Am7        # ii of the ii–V to G\n8  | D7         # V7 of G: natural tensions\n9  | GMaj7      # tonic: the 4th is in the key\n# area: Eb major (B 9–10)\n9  | Bb7        # V7 of Eb: natural tensions\n10 | EbMaj7     # tonic: the 4th is in the key\n# area: E major (B 10–11)\n10 | B7         # V7 of E: natural tensions\n11 | EMaj7      # tonic: the 4th is in the key\n# area: C major (B 11–12)\n11 | G7         # V7 of C: natural tensions\n12 | CMaj7      # tonic: the 4th is in the key\n# area: Db major (B 12–13)\n12 | Ab7        # V7 of Db: natural tensions\n13 | DbMaj7     # tonic: the 4th is in the key\n# area: A major (B 13–14)\n13 | E7         # V7 of A: natural tensions\n14 | AMaj7      # tonic: the 4th is in the key\n# area: C major (B 14–22)\n14 | C7         # V7\u002FIV in C: natural tensions\n15 | FMaj7      # the C7 before it makes F the key of the moment: the 4th is in the key\n16 | FMaj7\n17 | Em7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n18 | Em7\n19 | FMaj7      # IV: the #4 is the key’s 7th\n20 | FMaj7\n21 | Em7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n22 | Em7\n",1793575880746]