[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:hallelujah-i-love-her-so":3},"title: Hallelujah I Love Her So\ncomposer: Ray Charles\nstyle: Medium Swing\nkey: Bb\nform: AABA, 44 bars\n# analysis: 2026-10-31, rules v2; Bb\n\nsection: A1\n1  | Bb     # tonic: the 4th is in the key\n1  | Bb\u002FD   # tonic: the 4th is in the key\n2  | Eb     # IV: the #4 is the key’s 7th\n2  | Edim   # passing diminished: C7♭9 without its C, the F7's dominant; not functioning diatonically: the symmetric scale\n2  | F7     # V7 of Bb: natural tensions\n3  | Bb     # tonic: the 4th is in the key\n3  | Bb\u002FD   # tonic: the 4th is in the key\n4  | Eb     # IV: the #4 is the key’s 7th\n4  | Edim   # passing diminished: C7♭9 without its C, the F7's dominant; not functioning diatonically: the symmetric scale\n4  | F7     # V7 of Bb: natural tensions\n5  | Bb     # tonic: the 4th is in the key\n6  | Bb7\u002FD  # V7\u002FIV in Bb: natural tensions\n7  | Eb     # the Bb7\u002FD before it makes Eb the key of the moment: the 4th is in the key\n8  | Edim7  # ♯IV°7 to I: A7♭9 without its root, the ♯II°7's notes\n9  | Bb     # tonic: the 4th is in the key\n9  | D7\u002FA   # V7\u002Fvi in Bb: b9 and b13 are in the key\n10 | Gm     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n10 | Eb7    # IV7 in Bb, not resolving: the #11 is in the key\n11 | C7     # extended dominant: V7 of F7sus\n11 | F7sus  # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n12 | Bb     # tonic: the 4th is in the key\n\nsection: A2\ncopy: A1\n\nsection: B\n1  | Eb6    # IV: the #4 is the key’s 7th\n2  | Edim7  # ♯IV°7 to I over its 5th: A7♭9 without its root, the ♯II°7's notes\n3  | Bb\u002FF   # tonic: the 4th is in the key\n4  | Bb7    # extended dominant: V7 of Eb9\n5  | Eb9    # IV7 in Bb, not resolving: the #11 is in the key\n6  | Db9    # tritone substitute: resolves down a half step to C7\n7  | C7     # V7 of V7: the dominant of the dominant: natural tensions\n8  | F7     # V7 of Bb: natural tensions\n\nsection: A3\n1  | Bb     # tonic: the 4th is in the key\n1  | Bb\u002FD   # tonic: the 4th is in the key\n2  | Eb     # IV: the #4 is the key’s 7th\n2  | Edim   # passing diminished: C7♭9 without its C, the F7's dominant; not functioning diatonically: the symmetric scale\n2  | F7     # V7 of Bb: natural tensions\n3  | Bb     # tonic: the 4th is in the key\n3  | Bb\u002FD   # tonic: the 4th is in the key\n4  | Eb     # IV: the #4 is the key’s 7th\n4  | Edim   # passing diminished: C7♭9 without its C, the F7's dominant; not functioning diatonically: the symmetric scale\n4  | F7     # V7 of Bb: natural tensions\n5  | Bb     # tonic: the 4th is in the key\n6  | Bb7\u002FD  # V7\u002FIV in Bb: natural tensions\n7  | Eb     # the Bb7\u002FD before it makes Eb the key of the moment: the 4th is in the key\n8  | Edim7  # ♯IV°7 to I: A7♭9 without its root, the ♯II°7's notes\n9  | Bb     # tonic: the 4th is in the key\n9  | D7\u002FA   # V7\u002Fvi in Bb: b9 and b13 are in the key\n10 | Gm     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n10 | Eb7    # IV7 in Bb, not resolving: the #11 is in the key\n11 | C7     # V7 of V7: the dominant of the dominant: natural tensions\n11 | F7     # V7 of Bb: natural tensions\n12 | Bb     # tonic: the 4th is in the key\n",1793575889291]