[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:begin-the-beguine":3},"title: Begin The Beguine\ncomposer: Cole Porter\nstyle: Medium Swing\nkey: C\nform: AABACC, 100 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A1\n# area: C major (A1 1 – A2 16)\n1  | C       # tonic: the 4th is in the key\n2  | C6      # tonic: the 4th is in the key\n3  | CMaj7   # tonic: the 4th is in the key\n4  | C6      # tonic: the 4th is in the key\n5  | C       # tonic: the 4th is in the key\n6  | C6      # tonic: the 4th is in the key\n6  | C#dim   # vii°7 of Dm7: A7♭9 without its root\n7  | Dm7     # ii of G7: Dorian\n8  | G7      # V7\u002FI in C: natural tensions\n9  | Dm7     # ii of the ii–V to C\n10 | Dm7\n11 | Dm7\n12 | Dm7\n13 | Dm7\n14 | G7      # V7 of C: natural tensions\n15 | CMaj7   # tonic: the 4th is in the key\n16 | C6      # tonic: the 4th is in the key\n\nsection: A2\ncopy: A1\n\nsection: B\n# area: Bb major (B 1–4)\n1  | Cm7     # ii of the ii–V to Bb\n2  | F7      # V7 of Bb: natural tensions\n3  | Bb6     # tonic: the 4th is in the key\n4  | Bb6\n# area: Ab major (B 5–11)\n5  | Bbm7    # ii of the ii–V to Ab\n6  | Eb7     # V7 of Ab: natural tensions\n7  | AbMaj7  # tonic: the 4th is in the key\n8  | Ab6     # tonic: the 4th is in the key\n9  | Adim7   # passing diminished: D7♭9 without its D, the G6's dominant; not functioning diatonically: the symmetric scale\n10 | Adim7\n11 | G6      # a non-tonic major chord: Lydian\n# area: G major (B 12–14)\n12 | Ab7     # tritone substitute: resolves down a half step to G6\n13 | G6      # tonic: the 4th is in the key\n14 | Ab7     # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n# area: C major (B 15 – C 24)\n15 | Dm7     # ii of the ii–V to C\n16 | G7      # V7 of C: natural tensions\n\nsection: A3\n1  | C       # tonic: the 4th is in the key\n2  | C6      # tonic: the 4th is in the key\n3  | CMaj7   # tonic: the 4th is in the key\n4  | C6      # tonic: the 4th is in the key\n5  | C       # tonic: the 4th is in the key\n6  | C7      # I7 in C, not resolving: natural tensions\n7  | Dm7     # ii of G7: Dorian\n8  | G7      # V7\u002FI in C: natural tensions\n9  | Dm7b5   # iiø7, borrowed from C minor: Locrian\n10 | Dm7b5\n11 | Dm7b5\n12 | Dm7b5\n13 | Dm7     # ii of the ii–V to C\n14 | G7      # V7 of C: natural tensions\n15 | CMaj7   # tonic: the 4th is in the key\n16 | C6      # tonic: the 4th is in the key\n\nsection: C\n1  | C       # tonic: the 4th is in the key\n2  | C6      # tonic: the 4th is in the key\n3  | CMaj7   # tonic: the 4th is in the key\n4  | C6      # tonic: the 4th is in the key\n5  | C       # tonic: the 4th is in the key\n6  | C6      # tonic: the 4th is in the key\n7  | G7      # V7 of the C6 before it: natural tensions\n8  | G7\n9  | FMaj7   # IV: the #4 is the key’s 7th\n10 | FMaj7\n11 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | A7      # V7\u002Fii in C: the b13 is in the key\n13 | Dm7     # ii of the ii–V to C\n14 | G7      # V7 of C: natural tensions\n15 | CMaj7   # tonic: the 4th is in the key\n16 | C6      # tonic: the 4th is in the key\n17 | Dm7     # ii: Dorian, the key’s own notes\n18 | Dm7\n19 | Dm7b5   # iiø7, borrowed from C minor: Locrian\n20 | Dm7b5\n21 | Dm7     # ii of the ii–V to C\n22 | G7      # V7 of C: natural tensions\n23 | C       # tonic: the 4th is in the key\n24 | C6      # tonic: the 4th is in the key\n@ending 1 13 16\n@ending 2 17 24\n",1793575882544]