[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:for-heavens-sake":3},"title: For Heaven's Sake\ncomposer: Edwards, Meyer, Bretton\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 – A2 8)\n1 | Bbm7     # ii of Eb7: Dorian\n1 | Eb7      # extended ii–V: a side-step, its own key\n2 | Am7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | Dm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Gm7b5    # iiø7 of F: Locrian, the key's own notes (its ♭2 is a passing note)\n3 | C7b9     # V7 of F: the b9 from the symbol\n4 | FMaj7    # tonic: the 4th is in the key\n4 | F7       # V7\u002Fiv in F: natural tensions\n5 | Bbm7     # ii of Eb7: Dorian\n5 | Eb7      # extended ii–V: a side-step, its own key\n6 | Am7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | D7       # V7\u002Fii in F: the b13 is in the key\n7 | Gm7      # ii of the ii–V to F\n7 | C7sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n8 | F6       # tonic: the 4th is in the key\n\nsection: A2\ncopy: A1\n\nsection: B\n# area: Db major (B 1–7)\n1 | Ebm7     # ii of the ii–V to Db\n1 | Ab7      # V7 of Db: natural tensions\n2 | DbMaj7   # tonic: the 4th is in the key\n2 | Bb7      # V7\u002Fii in Db: the b13 is in the key\n3 | Ebm7     # ii of the ii–V to Db\n3 | Ab7      # V7 of Db: natural tensions\n4 | DbMaj7   # tonic: the 4th is in the key\n5 | Fm6      # a minor sixth chord: Dorian\n5 | Dm7b5    # biiø7 in Db: Locrian, its own mode (the chord is outside the key)\n6 | Gm7b5    # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | C7       # V7\u002Fiii in Db: b9 and b13 are in the key\n6 | Fm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | Bbm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7 | Bbm7\u002FAb  # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: F major (B 8 – A3 8)\n8 | Gm7      # ii of C7: Dorian\n8 | C7       # V7\u002FI in F: natural tensions\n\nsection: A3\n1 | Bbm7     # ii of Eb7: Dorian\n1 | Eb7      # extended ii–V: a side-step, its own key\n2 | Am7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | Dm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Gm7b5    # iiø7 of F: Locrian, the key's own notes (its ♭2 is a passing note)\n3 | C7b9     # V7 of F: the b9 from the symbol\n4 | FMaj7    # tonic: the 4th is in the key\n4 | F7       # V7\u002Fiv in F: natural tensions\n5 | Bbm7     # ii of Eb7: Dorian\n5 | Eb7      # extended ii–V: a side-step, its own key\n6 | Am7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | D7       # V7\u002Fii in F: the b13 is in the key\n7 | Gm7      # ii of the ii–V to F\n7 | C7sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n8 | F6       # tonic: the 4th is in the key\n",1793575888265]