[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:every-time-we-say-goodbye":3},"title: Every Time We Say Goodbye\ncomposer: Cole Porter\nstyle: Ballad\nkey: Eb\nform: ABAC, 32 bars\n# analysis: 2026-10-31, rules v2; Eb\n\nsection: A1\n# area: Eb major (A1 1–5)\n1 | EbMaj7    # tonic: the 4th is in the key\n1 | Fm7       # ii: Dorian, the key’s own notes\n2 | Gm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | AbMaj7    # IV: the #4 is the key’s 7th\n3 | Gm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3 | C7        # V7\u002Fii in Eb: the b13 is in the key\n4 | Fm7       # ii of Bb7: Dorian\n4 | Bb7       # V7\u002FI in Eb: natural tensions\n5 | Gm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n# area: B major (A1 5–8)\n5 | Gb7       # V7 of B: natural tensions\n6 | BMaj7     # tonic: the 4th is in the key\n6 | EMaj7#11  # from the symbol: #11\n7 | Bbm7      # ii of the ii–V to Ab minor\n7 | Eb7       # V7\u002Fvi in B: b9 and b13 are in the key\n8 | Abm7      # ii of Db7: Dorian\n8 | Db7       # back door bVII7 to EbMaj7\u002FG: natural tensions\n\nsection: B\n# area: Eb major (B 1 – A2 5)\n1 | EbMaj7\u002FG  # tonic: the 4th is in the key\n1 | Gbdim7    # passing diminished: F7♭9 without its F, the Bb7's dominant (Fm7 its ii)\n2 | Fm7       # ii of Bb7: Dorian\n2 | Bb7       # V7\u002FI in Eb: natural tensions\n3 | Bbm7      # ii of the ii–V to Ab\n3 | Eb7       # V7\u002FIV in Eb: natural tensions\n4 | AbMaj7    # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n5 | Abm7      # ii of Db7: Dorian\n5 | Db7       # extended ii–V: a side-step, its own key\n6 | Gm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | C7        # extended ii–V: a side-step, its own key\n7 | Gb7#11    # tritone substitute: resolves down a half step to Fm7\n8 | Fm7       # ii of the ii–V to Eb\n8 | Bb7       # V7 of Eb: natural tensions\n\nsection: A2\n1 | EbMaj7    # tonic: the 4th is in the key\n1 | Fm7       # ii: Dorian, the key’s own notes\n2 | Gm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | AbMaj7    # IV: the #4 is the key’s 7th\n3 | Gm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3 | C7        # V7\u002Fii in Eb: the b13 is in the key\n4 | Fm7       # ii of Bb7: Dorian\n4 | Bb7       # V7\u002FI in Eb: natural tensions\n5 | Gm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n# area: B major (A2 5 – C 1)\n5 | Gb7       # V7 of B: natural tensions\n6 | BMaj7     # tonic: the 4th is in the key\n6 | EMaj7#11  # from the symbol: #11\n7 | Bbm7      # ii of the ii–V to Ab minor\n7 | Eb7       # V7\u002Fvi in B: b9 and b13 are in the key\n8 | Abm7      # ii of Db7: Dorian\n8 | Db7       # V7\u002FV in B: natural tensions\n\nsection: C\n1 | Gm7       # a borrowed minor chord: Dorian, its own key\n1 | Gbdim7    # passing diminished: F7♭9 without its F, the Bb7's dominant; not functioning diatonically: the symmetric scale\n# area: Eb major (C 2–8)\n2 | Fm7       # ii of Bb7: Dorian\n2 | Bb7       # V7\u002FI in Eb: natural tensions\n3 | Bbm7      # ii of the ii–V to Ab\n3 | Eb7       # V7\u002FIV in Eb: natural tensions\n4 | AbMaj7    # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n4 | Abm6      # a minor sixth chord: Dorian\n5 | G7        # V7 of C7, on the way to F minor: b9 and b13 are in the key\n5 | C7        # V7 of F minor, the chain's last link: b9 and b13 are in the key\n6 | Fm7       # ii of the ii–V to Eb\n6 | Bb7       # V7 of Eb: natural tensions\n7 | Eb6       # tonic: the 4th is in the key\n7 | Eb6\u002FBb    # tonic: the 4th is in the key\n8 | Eb6       # tonic: the 4th is in the key\n8 | Eb6\u002FBb    # tonic: the 4th is in the key\n",1793575887574]