[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:black-butterfly":3},"title: Black Butterfly\ncomposer: Ellington, Carruthers, Mills\nstyle: Slow Swing\nkey: F\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; F\n\nsection: A1\n1 | Gm7       # ii of the ii–V to F\n1 | C7        # V7 of F: natural tensions\n2 | F6        # tonic: the 4th is in the key\n3 | FMaj7     # tonic: the 4th is in the key\n3 | Em7b5     # viiø7 in F: Locrian, the key's own notes (its ♭2 is a passing note)\n3 | Eb7       # tritone substitute: resolves down a half step to D7\n4 | D7        # VI7 in F, not resolving: the b13 is in the key\n4 | Eb7       # tritone substitute: resolves down a half step to D7\n4 | D7        # extended dominant: V7 of G7\n5 | G7        # tritone substitute: resolves down a half step to Gb7\n5 | Gb7       # tritone substitute: resolves down a half step to F7\n6 | F7        # extended dominant: V7 of Bb7\n6 | Bb7       # extended dominant: V7 of Eb7\n7 | Eb7       # tritone substitute: resolves down a half step to D7\n7 | D7        # tritone substitute: resolves down a half step to Db7\n7 | Db7       # tritone substitute: resolves down a half step to C7\n7 | C7        # V7 of F: natural tensions\n8 | F6        # tonic: the 4th is in the key\n8 | F#dim7    # vii°7 of Gm7: D7♭9 without its root; the repeat at A2 bar 8 would be F# Whole-Half Diminished\n\nsection: A2\ncopy: A1\n\nsection: B\n1 | Am7b5     # iiø7 of D7: Locrian, the key's own notes (its ♭2 is a passing note)\n1 | D7        # extended dominant: each one falls a fifth into the next: natural tensions\n2 | G7        # V7 of V7: the dominant of the dominant: natural tensions\n2 | C7        # extended dominant: V7 of F7\n3 | F7        # extended dominant: V7 of Bb7\n3 | Bb7       # IV7 in F, not resolving: the #11 is in the key\n3 | Db\u002FB      # ♭VI, borrowed from F minor: Lydian (its ♯11 is in the key)\n4 | F6\u002FC      # tonic: the 4th is in the key\n4 | Bbm\u002FC     # iv from the parallel minor: Dorian, its notes\n4 | F         # tonic: the 4th is in the key\n5 | A7        # III7 in F, not resolving: b9 and b13 are in the key\n5 | Em7b5     # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n5 | A7        # V7\u002Fvi in F: b9 and b13 are in the key\n6 | Dm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Dm6       # a minor sixth chord: Dorian\n7 | BbMaj7\u002FC  # IV: the #4 is the key’s 7th\n8 | BbMaj7\u002FC\n\nsection: A3\n1 | Gm7       # ii of the ii–V to F\n1 | C7        # V7 of F: natural tensions\n2 | FMaj7     # tonic: the 4th is in the key\n3 | F7        # I7 in F, not resolving: natural tensions\n3 | Eb7       # tritone substitute: resolves down a half step to D7b9\n4 | D7b9      # extended dominant: each one falls a fifth into the next: the b9 from the symbol\n5 | G7        # V7 of V7: the dominant of the dominant: natural tensions\n5 | C7        # extended dominant: V7 of F7\n6 | F7        # I7 in F, not resolving: natural tensions\n6 | Bdim7     # passing diminished: E7♭9 without its E, the Am7's dominant; not functioning diatonically: the symmetric scale\n7 | Am7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | D7        # V7\u002Fii in F: the b13 is in the key\n7 | Gm7       # ii of the ii–V to F\n7 | C7        # V7 of F: natural tensions\n8 | FMaj7     # tonic: the 4th is in the key\n",1793575882979]