[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:day-dream":3},"title: Day Dream\ncomposer: Billy Strayhorn, Ellington\nstyle: Ballad\nkey: F\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; F\n\nsection: A1\n# area: F major (A1 1–3)\n1  | FMaj7   # tonic: the 4th is in the key\n1  | F7\u002FA    # extended dominant: V7 of Bb7#5\n2  | Bb7#5   # tritone substitute: resolves down a half step to A7b13; b13 from the symbol\n2  | A7b13   # V7\u002Fvi in F: b9 and b13 are in the key\n3  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: Bb minor (A1 3–8)\n3  | F7\u002FC    # V7 of Bb minor: b9 and b13 are in the key\n4  | Bbm6    # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n4  | C7b13   # V7\u002Fv in Bb minor: b9 and b13 are in the key\n5  | Fm7     # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n5  | Fm7\u002FEb  # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n6  | Db7     # tritone substitute: resolves down a half step to C7\n7  | C7      # II7 in Bb minor, not resolving: b9 and b13 are in the key\n8  | G7      # tritone substitute: resolves down a half step to Gb7\n# area: F major (A1 8 – B 1)\n8  | Gb7     # tritone substitute: resolves down a half step to FMaj7\n9  | FMaj7   # tonic: the 4th is in the key\n10 | Cm7     # ii of the ii–V to Bb\n10 | F7      # V7\u002FIV in F: natural tensions\n@ending 1 7 8\n@ending 2 9 10\n\nsection: B\n1  | BbMaj7  # the F7 before it makes Bb the key of the moment: the 4th is in the key\n# area: A major (B 1–2)\n1  | Bm7     # ii of the ii–V to A\n1  | E7      # V7 of A: natural tensions\n2  | AMaj7   # tonic: the 4th is in the key\n# area: Ab major (B 2–3)\n2  | Bbm7    # ii of the ii–V to Ab\n2  | Eb7     # V7 of Ab: natural tensions\n3  | AbMaj7  # tonic: the 4th is in the key\n# area: G major (B 3–4)\n3  | Am7     # ii of the ii–V to G\n3  | D7      # V7 of G: natural tensions\n4  | GMaj7   # tonic: the 4th is in the key\n# area: F major (B 5 – A2 3)\n5  | Gm7     # ii of the ii–V to F\n5  | C7b9    # V7 of F: the b9 from the symbol\n6  | FMaj7   # tonic: the 4th is in the key\n6  | Ab7     # tritone substitute: resolves down a half step to G7\n7  | G7      # II7 in F, not resolving: natural tensions\n8  | Gm7     # ii of the ii–V to F\n8  | C7#5    # V7 of F: #11 and b13 from the symbol\n\nsection: A2\n1  | FMaj7   # tonic: the 4th is in the key\n1  | F7\u002FA    # extended dominant: V7 of Bb7#5\n2  | Bb7#5   # tritone substitute: resolves down a half step to A7b13; b13 from the symbol\n2  | A7b13   # V7\u002Fvi in F: b9 and b13 are in the key\n3  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: Bb minor (A2 3–6)\n3  | F7\u002FC    # V7 of Bb minor: b9 and b13 are in the key\n4  | Bbm6    # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n4  | C7b13   # V7\u002Fv in Bb minor: b9 and b13 are in the key\n5  | Fm7     # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n5  | Fm7\u002FEb  # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n6  | Db7     # tritone substitute: resolves down a half step to C7\n# area: F major (A2 6–8)\n6  | C7      # V7 of F: natural tensions\n7  | FMaj7   # tonic: the 4th is in the key\n8  | FMaj7\n",1793575886026]