[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:blood-count":3},"title: Blood Count\ncomposer: Billy Strayhorn\nstyle: Ballad\nkey: D\nform: AABAC, 40 bars\n# analysis: 2026-10-31, rules v2; D\n\nsection: A1\n# area: D major (A1 1–3)\n1 | F7#11     # extended dominant: V7 of Bb7#9; #11 from the symbol\n2 | Bb7#9     # extended dominant: V7 of Eb7#9#11; b9, #9 and #11 from the symbol\n3 | Eb7#9#11  # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b9 and #9 from the symbol\n# area: D minor (A1 4 – A2 4)\n4 | Bbm7      # ii of Eb7: Dorian\n4 | Eb7       # tritone substitute: resolves down a half step to Dm\n5 | Dm        # tonic minor: Dorian by convention\n6 | Dm#5      # tonic minor: Dorian by convention\n7 | Dm6       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n8 | Am7       # ii of D7: Dorian\n8 | D7        # extended ii–V: a side-step, its own key\n\nsection: A2\n1 | F7#11     # extended dominant: V7 of Bb7#9; #11 from the symbol\n2 | Bb7#9     # extended dominant: V7 of Eb7#9#11; b9, #9 and #11 from the symbol\n3 | Eb7#9#11  # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b9 and #9 from the symbol\n4 | Bbm7      # a borrowed minor chord: Dorian, its own key\n# area: D major (A2 4 – B 3)\n4 | A7        # V7 of D: natural tensions\n5 | DMaj7     # tonic: the 4th is in the key\n6 | DMaj7#5   # from the symbol: #5\n7 | D6        # tonic: the 4th is in the key\n8 | Am7       # ii of the ii–V to G\n8 | D7        # V7\u002FIV in D: natural tensions\n\nsection: B\n1 | GMaj7     # the D7 before it makes G the key of the moment: the 4th is in the key\n2 | GMaj7\n3 | Gm6       # a minor sixth chord: Dorian\n# area: F major (B 4 – A3 3)\n4 | Gm7       # ii of the ii–V to F\n4 | C7        # V7 of F: natural tensions\n5 | FMaj7     # tonic: the 4th is in the key\n6 | E7        # extended dominant: V7 of A7#11\n7 | A7#11     # III7 in F, not resolving: 9, #11 and 13 from the symbol\n7 | Bb7#11    # IV7 in F, not resolving: the #11 is in the key\n8 | B7#11     # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n8 | C7#11     # extended dominant: V7 of F7#11; #11 from the symbol\n\nsection: A3\n1 | F7#11     # extended dominant: V7 of Bb7#9; #11 from the symbol\n2 | Bb7#9     # extended dominant: V7 of Eb7#9#11; b9, #9 and #11 from the symbol\n3 | Eb7#9#11  # ♭VII7 from the parallel minor: Lydian Dominant; b9 and #9 from the symbol\n# area: D major (A3 4 – C 8)\n4 | Bbm7      # ii of Eb7: Dorian\n4 | Eb7       # tritone substitute: resolves down a half step to DMaj7\n5 | DMaj7     # tonic: the 4th is in the key\n6 | DMaj7#5   # from the symbol: #5\n7 | D6        # tonic: the 4th is in the key\n8 | Am7       # ii of the ii–V to G\n8 | D7        # V7\u002FIV in D: natural tensions\n\nsection: C\n1 | GMaj7     # the D7 before it makes G the key of the moment: the 4th is in the key\n2 | C7        # ♭VII7 from the parallel minor: Lydian Dominant\n3 | F#m7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | Bm7       # ii of E7: Dorian\n4 | E7        # extended dominant: V7 of A7sus\n5 | A7sus     # static sus: Mixolydian\n5 | F\u002FA       # ♭III, borrowed from D minor: Lydian (its ♯11 is in the key)\n6 | E\u002FA       # a non-tonic major chord: Lydian\n6 | Eb\u002FA      # ♭II, borrowed from D Phrygian: Lydian (its ♯11 is in the key)\n7 | DMaj7     # tonic: the 4th is in the key\n7 | F\u002FD       # ♭III, borrowed from D minor: Lydian (its ♯11 is in the key)\n8 | E\u002FD       # a non-tonic major chord: Lydian\n8 | Eb\u002FD      # ♭II, borrowed from D Phrygian: Lydian (its ♯11 is in the key)\n@coda 1\n",1793575883063]