[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:aisha":3},"title: Aisha\ncomposer: McCoy Tyner\nstyle: Ballad\nkey: Am\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; A minor\n\nsection: A1\n# area: A minor (A1 1–6)\n1 | Am9     # tonic minor: Dorian by convention\n2 | Gm9     # a borrowed minor chord: Dorian, its own key\n3 | Am9     # tonic minor: Dorian by convention\n4 | Fm9     # a borrowed minor chord: Dorian, its own key\n5 | Fm7     # ii of Bb7: Dorian\n5 | Bb7     # extended ii–V: a side-step, its own key\n6 | Gm7     # ii of C7: Dorian\n6 | C7      # V7\u002FbVI in A minor: natural tensions\n# area: F minor (A1 7–9)\n7 | Am7     # ii of D7b9: Dorian\n7 | D7b9    # extended dominant: each one falls a fifth into the next, on the way to F minor: b9 and b13 are in the key\n8 | G7      # V7 of V7: the dominant of the dominant, on the way to F minor: b9 and b13 are in the key\n8 | C7      # V7 of F minor, the chain's last link: b9 and b13 are in the key\n8 | Fm      # tonic minor: Dorian by convention\n8 | E7      # VII7 in F minor, not resolving: b9 and #11 are in the key\n9 | Gm7     # ii of C7: Dorian\n9 | C7      # tritone substitute: resolves down a half step to Bm7\n# area: A major (A1 9 – B 2)\n9 | Bm7     # ii of the ii–V to A\n9 | E7      # V7 of A: natural tensions\n@ending 1 8\n@ending 2 9\n\nsection: B\n1 | AMaj7   # tonic: the 4th is in the key\n1 | D7#11   # IV7 in A, not resolving: the #11 is in the key\n2 | AMaj7   # tonic: the 4th is in the key\n# area: Db major (B 2–4)\n2 | D7#11   # tritone substitute: resolves down a half step to DbMaj7\n3 | DbMaj7  # tonic: the 4th is in the key\n3 | Gb7#11  # IV7 in Db, not resolving: the #11 is in the key\n4 | DbMaj7  # tonic: the 4th is in the key\n# area: B major (B 4–6)\n4 | Gb7#11  # V7 of B: the #11 from the symbol\n5 | BMaj7   # tonic: the 4th is in the key\n5 | E7#11   # IV7 in B, not resolving: the #11 is in the key\n6 | BMaj7   # tonic: the 4th is in the key\n# area: Eb major (B 6–8)\n6 | E7#11   # tritone substitute: resolves down a half step to EbMaj7\n7 | EbMaj7  # tonic: the 4th is in the key\n7 | GbMaj7  # ♭IIImaj7, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n8 | AMaj7   # a non-tonic major chord: Lydian\n# area: A minor (B 8 – A2 6)\n8 | Bm7     # ii of the ii–V to A minor\n8 | E7      # V7 of A minor: b9 and b13 are in the key\n\nsection: A2\n1 | Am9     # tonic minor: Dorian by convention\n2 | Gm9     # a borrowed minor chord: Dorian, its own key\n3 | Am9     # tonic minor: Dorian by convention\n4 | Fm9     # a borrowed minor chord: Dorian, its own key\n5 | Fm7     # ii of Bb7: Dorian\n5 | Bb7     # extended ii–V: a side-step, its own key\n6 | Gm7     # ii of C7: Dorian\n6 | C7      # V7\u002FbVI in A minor: natural tensions\n# area: F minor (A2 7–8)\n7 | Am7     # ii of D7b9: Dorian\n7 | D7b9    # extended dominant: each one falls a fifth into the next, on the way to F minor: b9 and b13 are in the key\n8 | G7      # V7 of V7: the dominant of the dominant, on the way to F minor: b9 and b13 are in the key\n8 | C7      # V7 of F minor, the chain's last link: b9 and b13 are in the key\n8 | Fm      # tonic minor: Dorian by convention\n# area: A minor (A2 8 – Coda 2)\n8 | E7      # V7 of A minor: b9 and b13 are in the key\n@coda 7\n\nsection: Coda\n1 | Gm7     # ii of the ii–V to F minor\n1 | C7      # V7\u002Fbvi in A minor: natural tensions\n1 | Fm7     # ii of the ii–V to Eb minor\n1 | Bb7     # V7\u002F#iv in A minor: the #11 is in the key\n2 | Ebm7    # ii of Ab7: Dorian\n2 | Ab7     # extended ii–V: a side-step, its own key\n2 | Gb13    # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n@coda 1\n",1793575880855]