[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:crystal-love":3},"title: Crystal Love\ncomposer: Makoto Ozone\nstyle: Medium straight eighths\nkey: G\nform: ABCD, 62 bars\nrecording: Makoto Ozone; Makoto Ozone; Columbia; 1984\nyoutube: bZ2yGUZ7hEo\n# analysis: 2026-10-19, rules v2; G\n# recording: recorded 1984-06-23\u002F24, Mad Hatter Studio, Los Angeles, Makoto Ozone with Gary Burton (vibes, producer) and Eddie Gómez, the opening track of his debut album; the composer's own first recording, with the vibes the chart's fills come from (Wikipedia, Jazz Music Archives); video: \"Provided to YouTube by Columbia\u002FLegacy\", Makoto Ozone, the same take\n# A–B is the head; C–D are the solo changes (\"Solo on CD; after solos D.C. al Coda\")\n# the head's A is engraved two bars to a measure in places; the bars here follow the solo section's barring\n\n# bar | chord\n\nsection: Intro\nbars: 4\n# area: G minor (Intro 1–3)\n1  | G(add9)     # a non-tonic major chord: Lydian\n2  | CmMaj7\u002FG    # from the symbol: minor-major 7th\n3  | CmMaj7\u002FG\n@ending 1 2\n@ending 2 3\n\nsection: A\n# area: G major (A 1–5)\n1  | GMaj7       # tonic: the 4th is in the key\n2  | Ab\u002FG        # ♭II, borrowed from G Phrygian: Lydian (its ♯11 is in the key)\n2  | F#dim7\u002FG    # vii°7 of GMaj7: D7♭9 without its root\n3  | GMaj7       # tonic: the 4th is in the key\n4  | Gb13#11     # extended dominant: V7 of B7#5b9#9; #11 from the symbol\n4  | B7#5b9#9    # III7 in G, not resolving: the b13 is in the key, b9, #9 and #11 from the symbol\n5  | EbMaj7      # ♭VImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n# area: G minor (A 5 – B 14)\n5  | D7#5        # V7 of G minor: b9 and b13 are in the key, the #11 from the symbol\n6  | Gm7         # tonic minor: Dorian by convention\n6  | F           # ♭VII of G minor: F major, the notes of G Dorian\n6  | EbmMaj7     # from the symbol: minor-major 7th\n7  | EbmMaj7\n# bar 7 (1st ending): vibes fill over the held EbmMaj7\n8  | EbmMaj7\n# bar 8 (2nd ending): EbmMaj7 held\n@ending 1 7\n@ending 2 8\n@time 8 2\u002F4\n\nsection: B\n1  | D           # a non-tonic major chord: Lydian\n1  | Gm6\u002FD       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n2  | E\u002FD         # a non-tonic major chord: Lydian\n2  | Gm6\u002FD       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n3  | D           # a non-tonic major chord: Lydian\n3  | Gm6\u002FD       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n4  | E\u002FD         # a non-tonic major chord: Lydian\n4  | Gm6\u002FD       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n5  | D           # a non-tonic major chord: Lydian\n5  | A#dim7      # vii°7 of Bm: F#7♭9 without its root\n5  | Bm          # a borrowed minor chord: Dorian, its own key\n6  | C\u002FBb        # a non-tonic major chord: Lydian\n6  | Bb\u002FGb       # bIII of G minor: the relative major itself\n6  | A\u002FG         # a non-tonic major chord: Lydian\n7  | Bb\u002FGb       # bIII of G minor: the relative major itself\n9  | F           # ♭VII of G minor: F major, the notes of G Dorian\n9  | C#dim7      # vii°7 of Dm: A7♭9 without its root\n9  | Dm          # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n10 | Eb\u002FDb       # a non-tonic major chord: Lydian\n10 | Db\u002FA        # a non-tonic major chord: Lydian\n10 | C\u002FBb        # a non-tonic major chord: Lydian\n11 | C#\u002FA        # a non-tonic major chord: Lydian\n13 | Fm7         # a borrowed minor chord: Dorian, its own key\n13 | Eb          # a non-tonic major chord: Lydian\n13 | Bbm7        # a borrowed minor chord: Dorian, its own key\n13 | Ab          # a non-tonic major chord: Lydian\n14 | Ebm7        # a borrowed minor chord: Dorian, its own key\n14 | CbMaj7      # a non-tonic major chord: Lydian\n# area: G major (B 16 – C 5)\n16 | B7b9#11     # V7\u002Fvi in G: the b9 is in the key, #11 and 13 from the symbol\n18 | Em          # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n19 | C(add9)     # IV: the #4 is the key’s 7th\n19 | Cm6\u002FEb      # a minor sixth chord: Dorian\n20 | GMaj7\u002FD     # tonic: the 4th is in the key\n20 | G\u002FD         # tonic: the 4th is in the key\n20 | D7          # V7 of the G\u002FD before it: natural tensions\n21 | C#m7b5      # #ivø7 in G: Locrian, its own mode (the chord is outside the key)\n21 | Cm7         # a borrowed minor chord: Dorian, its own key\n22 | D\u002FBb        # V without its 7th: Mixolydian, the key’s own notes\n22 | BbMaj7      # ♭IIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n23 | D9sus4      # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n23 | D7          # V7 of G: natural tensions\n@coda 23\n\nsection: C\n1  | GMaj7       # tonic: the 4th is in the key\n2  | Ab\u002FG        # ♭II, borrowed from G Phrygian: Lydian (its ♯11 is in the key)\n2  | F#dim7\u002FG    # vii°7 of GMaj7: D7♭9 without its root\n3  | GMaj7       # tonic: the 4th is in the key\n4  | F#13#11     # extended dominant: V7 of B7alt; #11 from the symbol\n4  | B7alt       # from the symbol: altered\n5  | EbMaj7      # ♭VImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n# area: G minor (C 5 – D 14)\n5  | D7#5#9      # V7 of G minor: the b13 is in the key, b9, #9 and #11 from the symbol\n6  | Gm7         # tonic minor: Dorian by convention\n6  | F           # ♭VII of G minor: F major, the notes of G Dorian\n6  | EbmMaj7     # from the symbol: minor-major 7th\n7  | EbmMaj7\n# bar 7 (1st ending): EbmMaj7 held\n8  | EbmMaj7\n@ending 1 7\n@ending 2 8\n@time 8 2\u002F4\n\nsection: D\nbars: 25\n1  | D           # a non-tonic major chord: Lydian\n1  | Gm6\u002FD       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n2  | E\u002FD         # a non-tonic major chord: Lydian\n2  | Gm6\u002FD       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n3  | D           # a non-tonic major chord: Lydian\n3  | Gm6\u002FD       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n4  | E\u002FD         # a non-tonic major chord: Lydian\n4  | Gm6\u002FD       # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n5  | D           # a non-tonic major chord: Lydian\n5  | Bm7         # a borrowed minor chord: Dorian, its own key\n6  | Em7         # a borrowed minor chord: Dorian, its own key\n6  | Fdim7       # vii°7 to Bb\u002FGb, up to its bass: Db7♭9 without its root\n7  | Bb\u002FGb       # bIII of G minor: the relative major itself\n# bars 7–8: suspended time feel\n9  | F           # ♭VII of G minor: F major, the notes of G Dorian\n9  | A7          # V7\u002Fv in G minor: b9 and b13 are in the key\n9  | Dm7         # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n10 | Gm7         # tonic minor: Dorian by convention\n10 | G#dim7      # vii°7 to C#\u002FA, up to its bass: E7♭9 without its root\n11 | C#\u002FA        # a non-tonic major chord: Lydian\n# bars 11–12: suspended time feel\n13 | Fm7         # a borrowed minor chord: Dorian, its own key\n13 | Ebm7        # a borrowed minor chord: Dorian, its own key\n14 | BMaj7       # a non-tonic major chord: Lydian\n# area: G major (D 16 – Coda 6)\n16 | B7b9#11     # V7\u002Fvi in G: the b9 is in the key, #11 and 13 from the symbol\n18 | Em          # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n19 | C(add9)\u002FE   # IV: the #4 is the key’s 7th\n19 | Cm6\u002FEb      # a minor sixth chord: Dorian\n20 | GMaj7\u002FD     # tonic: the 4th is in the key\n21 | C#m7b5      # #ivø7 in G: Locrian, its own mode (the chord is outside the key)\n21 | Cm7         # a borrowed minor chord: Dorian, its own key\n22 | D\u002FBb        # V without its 7th: Mixolydian, the key’s own notes\n22 | BbMaj7      # ♭IIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n23 | Am7(add11)  # ii of the ii–V to G\n23 | D7          # V7 of G: natural tensions\n@nav 23 D.C. al Coda\n\nsection: Coda\nbars: 8\n# Coda: from the ⊕ at B bar 23\n1  | D9sus4      # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n1  | D7          # V7 of G: natural tensions\n2  | GMaj7       # tonic: the 4th is in the key\n3  | Ab\u002FG        # ♭II, borrowed from G Phrygian: Lydian (its ♯11 is in the key)\n3  | F#dim7\u002FG    # vii°7 of GMaj7: D7♭9 without its root\n4  | GMaj7       # tonic: the 4th is in the key\n5  | Gb13#11     # extended dominant: V7 of B7#5b9#9; #11 from the symbol\n5  | B7#5b9#9    # III7 in G, not resolving: the b13 is in the key, b9, #9 and #11 from the symbol\n6  | EbMaj7      # ♭VImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n# area: G minor (Coda 6–7)\n6  | D7#5        # V7 of G minor: b9 and b13 are in the key, the #11 from the symbol\n7  | Gm7         # tonic minor: Dorian by convention\n7  | F           # ♭VII of G minor: F major, the notes of G Dorian\n7  | EbmMaj7     # from the symbol: minor-major 7th\n# rit. to the end\n",1793484799003]