[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:day-dreaming":3},"title: Day Dreaming\ncomposer: Jerome Kern\nstyle: Ballad\nkey: Bb\nform: ABAC, 32 bars\n# analysis: 2026-10-31, rules v2; Bb\n\nsection: A1\n1 | BbMaj7  # tonic: the 4th is in the key\n1 | Cm7     # ii: Dorian, the key’s own notes\n2 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | C#dim7  # passing diminished: a rootless dominant ♭9\n3 | Cm7     # ii: Dorian, the key’s own notes\n3 | Ddim7   # passing diminished: G7♭9 without its G, the Cm7's dominant; not functioning diatonically: the symmetric scale\n4 | Cm7     # ii of the ii–V to Bb\n4 | F7#9    # V7 of Bb: b9, #9 and #11 from the symbol\n5 | BbMaj7  # tonic: the 4th is in the key\n5 | EbMaj7  # IV: the #4 is the key’s 7th\n6 | D7#11   # III7 in Bb, not resolving: 9, #11 and 13 from the symbol\n6 | Ab9     # tritone substitute: resolves down a half step to G7b9\n7 | G7b9    # V7\u002Fii in Bb: the b13 is in the key, the b9 from the symbol\n8 | Cm7     # ii of the ii–V to Bb\n8 | F7      # V7 of Bb: natural tensions\n\nsection: B\n1 | BbMaj7  # tonic: the 4th is in the key\n1 | Bb7\u002FAb  # I7 in Bb, not resolving: natural tensions\n2 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2 | Gm7\u002FF   # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Em7b5   # #ivø7 in Bb: Locrian, its own mode (the chord is outside the key)\n4 | Eb7     # tritone substitute: resolves down a half step to D7#5\n4 | D7#5    # V7\u002Fvi in Bb: b9 and b13 are in the key, the #11 from the symbol\n5 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | Gm7\u002FF   # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Em7b5   # #ivø7 in Bb: Locrian, its own mode (the chord is outside the key)\n6 | Eb9     # tritone substitute: resolves down a half step to Dm7\n7 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | C#dim7  # passing diminished: C7♭9 without its C, the F7sus's dominant (Cm7 its ii)\n8 | Cm7     # ii of the ii–V to Bb\n8 | F7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n\nsection: A2\ncopy: A1\n\nsection: C\n1 | BbMaj7  # tonic: the 4th is in the key\n1 | Bb7\u002FAb  # I7 in Bb, not resolving: natural tensions\n2 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2 | Fm7     # a borrowed minor chord: Dorian, its own key\n3 | Em7b5   # #ivø7 in Bb: Locrian, its own mode (the chord is outside the key)\n4 | Ebm6    # a minor sixth chord: Dorian\n4 | Ab9     # extended ii–V: a side-step, its own key\n5 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5 | G7      # extended ii–V: a side-step, its own key\n6 | E7\u002FF    # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n6 | F13     # V7 of Bb: natural tensions\n7 | Bb69    # tonic: the 4th is in the key\n8 | Cm7     # ii of the ii–V to Bb\n8 | F7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n",1793575886038]