[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:happy-talk":3},"title: Happy Talk\ncomposer: Richard Rodgers, Hammerstein\nstyle: Medium Swing\nkey: F\nform: AABA, 64 bars\n# analysis: 2026-10-31, rules v2; F\n\nsection: A1\n1  | F6      # tonic: the 4th is in the key\n2  | F+      # from the symbol: augmented\n3  | Bb6     # IV: the #4 is the key’s 7th\n4  | G7      # extended dominant: V7 of C7sus\n5  | C7sus   # static sus: Mixolydian\n6  | Gm7     # ii of the ii–V to F\n6  | C7      # V7 of F: natural tensions\n7  | F6      # tonic: the 4th is in the key\n8  | F6\n8  | F7      # V7\u002FIV in F: natural tensions\n9  | Bb6     # the F7 before it makes Bb the key of the moment: the 4th is in the key\n10 | Eb7     # back door bVII7 to F6: the #11 is in the key\n11 | F6      # tonic: the 4th is in the key\n12 | D7b13   # VI7 in F, not resolving: the b13 is in the key\n13 | Dm7     # ii of G7: Dorian\n13 | G7      # V7\u002FV in F: natural tensions\n14 | Gm7     # ii of the ii–V to F\n14 | C7      # V7 of F: natural tensions\n15 | F6      # tonic: the 4th is in the key\n16 | Gm7     # ii of the ii–V to F\n16 | C7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n\nsection: A2\ncopy: A1\n\nsection: B\n1  | FMaj7   # tonic: the 4th is in the key\n2  | FMaj7\n3  | FMaj7\n4  | FMaj7\n5  | Gm7     # ii of the ii–V to F\n6  | C7      # V7 of F: natural tensions\n7  | F6      # tonic: the 4th is in the key\n7  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | Gm7     # ii of the ii–V to F\n8  | C7      # V7 of F: natural tensions\n9  | FMaj7   # tonic: the 4th is in the key\n10 | FMaj7\n11 | FMaj7\n12 | FMaj7\n13 | Gm7     # ii: Dorian, the key’s own notes\n14 | Gm7\n15 | C       # V without its 7th: Mixolydian, the key’s own notes\n15 | Bb\u002FD    # IV: the #4 is the key’s 7th\n16 | D#dim7  # passing diminished: a rootless dominant ♭9; not functioning diatonically: the symmetric scale\n16 | C7\u002FE    # V7 of F: natural tensions\n\nsection: A3\n1  | F6      # tonic: the 4th is in the key\n2  | F+      # from the symbol: augmented\n3  | Bb6     # IV: the #4 is the key’s 7th\n4  | G7      # extended dominant: V7 of C7sus\n5  | C7sus   # static sus: Mixolydian\n6  | Gm7     # ii of the ii–V to F\n6  | C7      # V7 of F: natural tensions\n7  | F6      # tonic: the 4th is in the key\n8  | F6\n8  | F7      # V7\u002FIV in F: natural tensions\n9  | Bb6     # the F7 before it makes Bb the key of the moment: the 4th is in the key\n10 | Eb7     # back door bVII7 to F6: the #11 is in the key\n11 | F6      # tonic: the 4th is in the key\n12 | D7b13   # VI7 in F, not resolving: the b13 is in the key\n13 | Dm7     # ii of G7: Dorian\n13 | G7      # V7\u002FV in F: natural tensions\n14 | Gm7     # ii of the ii–V to F\n14 | C7      # V7 of F: natural tensions\n15 | F6      # tonic: the 4th is in the key\n16 | Gm7     # ii of the ii–V to F\n16 | C7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n",1793575889355]