[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:cute":3},"title: Cute\ncomposer: Neal Hefti\nstyle: Medium Swing\nkey: F\nform: AA, 32 bars\n# analysis: 2026-10-31, rules v2; F\n\nsection: Intro\n# area: F major (Intro 1–13)\n1  | Bb6     # IV: the #4 is the key’s 7th\n1  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n1  | Ab7     # tritone substitute: resolves down a half step to Gm7\n2  | Gm7     # ii of the ii–V to F\n2  | C7      # V7 of F: natural tensions\n2  | F6      # tonic: the 4th is in the key\n3  | N.C.\n4  | N.C.\n5  | Bb6     # IV: the #4 is the key’s 7th\n5  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | Ab7     # tritone substitute: resolves down a half step to Gm7\n6  | Gm7     # ii of C7: Dorian\n6  | C7      # extended dominant: V7 of F7\n6  | F7      # V7\u002FIV in F: natural tensions\n7  | N.C.\n8  | N.C.\n9  | Bb6     # the F7 before it makes Bb the key of the moment: the 4th is in the key\n9  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n9  | Gm7     # ii: Dorian, the key’s own notes\n9  | Bbm     # iv from the parallel minor: Dorian, its notes\n10 | N.C.\n11 | FMaj7   # tonic: the 4th is in the key\n11 | Bb6     # IV: the #4 is the key’s 7th\n11 | A7      # V7\u002Fvi in F: b9 and b13 are in the key\n11 | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n12 | N.C.\n13 | Dm6     # a minor sixth chord: Dorian\n13 | Dm\u002FC    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n13 | Bm7b5   # #ivø7 in F: Locrian, its own mode (the chord is outside the key)\n# area: A major (Intro 14–17)\n14 | Bm7     # ii of the ii–V to A\n14 | E7      # V7 of A: natural tensions\n14 | AMaj7   # tonic: the 4th is in the key\n15 | N.C.\n16 | N.C.\n17 | Bb6     # ♭II6, borrowed from A Phrygian: Lydian (its ♯11 is in the key)\n17 | Am7     # a borrowed minor chord: Dorian, its own key\n17 | Ab7     # tritone substitute: resolves down a half step to Gm7\n# area: F major (Intro 18 – A 12)\n18 | Gm7     # ii of the ii–V to F\n18 | C7      # V7 of F: natural tensions\n18 | F6      # tonic: the 4th is in the key\n19 | N.C.\n20 | N.C.\n@ending 1 13 16\n@ending 2 17 20\n\nsection: A\n1  | Gm7     # ii of C7: Dorian\n2  | C7      # V7\u002FI in F: natural tensions\n3  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | D7      # V7\u002Fii in F: the b13 is in the key\n5  | Gm7     # ii of C7: Dorian\n6  | C7      # V7\u002FI in F: natural tensions\n7  | Cm7     # ii of the ii–V to Bb\n8  | F7      # V7\u002FIV in F: natural tensions\n9  | BbMaj7  # the F7 before it makes Bb the key of the moment: the 4th is in the key\n10 | Eb7     # ♭VII7 from the parallel minor: Lydian Dominant\n11 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: A major (A 13–16)\n13 | Bm7b5   # iiø7 of A: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | E7b9    # V7 of A: the b9 from the symbol\n15 | AMaj7   # tonic: the 4th is in the key\n16 | Am7b5   # iø7 in A: Locrian, its own mode (the chord is outside the key)\n16 | Ab7     # tritone substitute: resolves down a half step to Gm7\n# area: F major (A 17–20)\n17 | Gm7     # ii of C7sus: Dorian\n18 | C7sus   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n18 | C7b9    # V7 of F: the b9 from the symbol\n19 | FMaj7   # tonic: the 4th is in the key\n19 | Gm7     # ii: Dorian, the key’s own notes\n20 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n20 | D7b9    # V7\u002Fii in F: the b13 is in the key, the b9 from the symbol\n@ending 1 13 16\n@ending 2 17 20\n",1793575885849]