[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:good-bait":3},"title: Good Bait\ncomposer: Tadd Dameron\nstyle: Medium Swing\nkey: Bb\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; Bb\n\nsection: A1\n# area: Bb major (A1 1 – B 5)\n1 | Bb6     # tonic: the 4th is in the key\n1 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2 | Cm7     # ii of the ii–V to Bb\n2 | F7      # V7 of Bb: natural tensions\n3 | Bb6     # tonic: the 4th is in the key\n3 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | Cm7     # ii of the ii–V to Bb\n4 | F7      # V7 of Bb: natural tensions\n5 | BbMaj7  # tonic: the 4th is in the key\n5 | Bb7     # V7\u002FIV in Bb: natural tensions\n6 | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n6 | Ab7     # ♭VII7 from the parallel minor: Lydian Dominant\n7 | Dm      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | Db7     # tritone substitute: resolves down a half step to Cm\n7 | Cm      # ii: Dorian, the key’s own notes\n7 | B7      # tritone substitute: resolves down a half step to Bb6\n8 | Bb6     # tonic: the 4th is in the key\n8 | F7alt   # from the symbol: altered\n9 | Bb6     # tonic: the 4th is in the key\n9 | Bb7#5   # V7\u002FIV in Bb: #11 and b13 from the symbol\n@ending 1 8\n@ending 2 9\n\nsection: B\n1 | Eb6     # the Bb7#5 before it makes Eb the key of the moment: the 4th is in the key\n1 | Cm7     # ii: Dorian, the key’s own notes\n2 | Fm7     # ii of the ii–V to Eb\n2 | Bb7     # V7\u002FIV in Bb: natural tensions\n3 | Eb6     # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n3 | Cm7     # ii: Dorian, the key’s own notes\n4 | Fm7     # ii of the ii–V to Eb\n4 | Bb7     # V7\u002FIV in Bb: natural tensions\n5 | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n# area: Ab major (B 5–7)\n5 | Eb7     # V7 of Ab: natural tensions\n6 | AbMaj7  # tonic: the 4th is in the key\n6 | Db7     # IV7 in Ab, not resolving: the #11 is in the key\n7 | Gm      # a borrowed minor chord: Dorian, its own key\n7 | Gb7     # tritone substitute: resolves down a half step to Fm\n7 | Fm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: Bb major (B 7 – A2 8)\n7 | E7      # tritone substitute: resolves down a half step to Eb6\n8 | Eb6     # the E7 before it makes Eb the key of the moment: the 4th is in the key\n8 | F7      # V7 of Bb: natural tensions\n\nsection: A2\n1 | Bb6     # tonic: the 4th is in the key\n1 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2 | Cm7     # ii of the ii–V to Bb\n2 | F7      # V7 of Bb: natural tensions\n3 | Bb6     # tonic: the 4th is in the key\n3 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | Cm7     # ii of the ii–V to Bb\n4 | F7      # V7 of Bb: natural tensions\n5 | BbMaj7  # tonic: the 4th is in the key\n5 | Bb7     # V7\u002FIV in Bb: natural tensions\n6 | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n6 | Ab7     # ♭VII7 from the parallel minor: Lydian Dominant\n7 | Dm      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | Db7     # tritone substitute: resolves down a half step to Cm\n7 | Cm      # ii: Dorian, the key’s own notes\n7 | B7      # tritone substitute: resolves down a half step to Bb6\n8 | Bb6     # tonic: the 4th is in the key\n8 | F7alt   # from the symbol: altered\n",1793575889062]