[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:heres-that-sunny-day":3},"title: Here's That Sunny Day\ncomposer: Barney Kessel\nstyle: Bossa Nova\nkey: A\nform: AABA, 56 bars\n# analysis: 2026-10-31, rules v2; A\n\nsection: Intro1\n# area: A major (Intro1 1 – A1 14)\n1  | A\u002FE     # tonic: the 4th is in the key\n2  | A\u002FE\n3  | D\u002FE     # IV: the #4 is the key’s 7th\n4  | D\u002FE\n\nsection: Intro2\ncopy: Intro1\n\nsection: A1\n1  | AMaj7   # tonic: the 4th is in the key\n2  | AMaj7\n3  | DMaj7   # IV: the #4 is the key’s 7th\n4  | DMaj7\n5  | AMaj7   # tonic: the 4th is in the key\n6  | AMaj7\n7  | CMaj7   # ♭IIImaj7, borrowed from A minor: Lydian (its ♯11 is in the key)\n8  | CMaj7\n9  | FMaj7   # ♭VImaj7, borrowed from A minor: Lydian (its ♯11 is in the key)\n10 | FMaj7\n11 | BbMaj7  # ♭IImaj7, borrowed from A Phrygian: Lydian (its ♯11 is in the key)\n12 | BbMaj7\n13 | Bm7     # ii of E7: Dorian\n14 | E7      # V7\u002FI in A: natural tensions\n# area: Bb major (A1 14–16)\n14 | Cm7     # ii of the ii–V to Bb\n14 | F7      # V7 of Bb: natural tensions\n15 | BbMaj7  # tonic: the 4th is in the key\n16 | BbMaj7\n16 | E7b9    # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b9 from the symbol\n# area: A major (A1 17–20)\n17 | Bm7     # ii of E7: Dorian\n18 | E7      # V7\u002FI in A: natural tensions\n19 | Em7     # ii of the ii–V to D minor\n20 | A7      # V7\u002Fiv in A: natural tensions\n@segno 1\n@coda 12\n@ending 1 13 16\n@ending 2 17 20\n\nsection: B\n# area: C major (B 1–6)\n1  | Dm7     # ii of the ii–V to C\n2  | G7      # V7 of C: natural tensions\n3  | CMaj7   # tonic: the 4th is in the key\n4  | FMaj7   # IV: the #4 is the key’s 7th\n5  | Bb7     # ♭VII7 from the parallel minor: Lydian Dominant\n6  | Bb7\n# area: A major (B 7 – Coda 16)\n7  | Bm7b5   # iiø7 of A: Locrian, the key's own notes (its ♭2 is a passing note)\n8  | E7#5    # V7 of A: #11 and b13 from the symbol\n\nsection: A2\n1  | AMaj7   # tonic: the 4th is in the key\n2  | AMaj7\n3  | DMaj7   # IV: the #4 is the key’s 7th\n4  | DMaj7\n5  | AMaj7   # tonic: the 4th is in the key\n6  | AMaj7\n7  | CMaj7   # ♭IIImaj7, borrowed from A minor: Lydian (its ♯11 is in the key)\n8  | CMaj7\n9  | FMaj7   # ♭VImaj7, borrowed from A minor: Lydian (its ♯11 is in the key)\n10 | FMaj7\n11 | BbMaj7  # ♭IImaj7, borrowed from A Phrygian: Lydian (its ♯11 is in the key)\n12 | BbMaj7\n13 | Bm7     # ii of E7: Dorian\n14 | E7      # V7\u002FI in A: natural tensions\n15 | C#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n15 | F#7     # V7\u002Fii in A: the b13 is in the key\n16 | Bm7     # ii of the ii–V to A\n16 | E7      # V7 of A: natural tensions\n@nav 16 D.S. al Coda\n\nsection: Coda\n1  | Bm7     # ii of E7: Dorian\n2  | E7      # V7\u002FI in A: natural tensions\n3  | Cm7     # ii of F7: Dorian\n4  | F7      # extended ii–V: a side-step, its own key\n5  | Bm7     # ii of E7: Dorian\n6  | E7      # V7\u002FI in A: natural tensions\n7  | C#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | C7      # tritone substitute: resolves down a half step to Bm7\n9  | Bm7     # ii of E7: Dorian\n10 | E7      # V7\u002FI in A: natural tensions\n11 | C#m     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | C7      # tritone substitute: resolves down a half step to Bm7\n13 | Bm7     # ii of the ii–V to A\n14 | E7      # V7 of A: natural tensions\n15 | AMaj7   # tonic: the 4th is in the key\n16 | AMaj7\n@coda 1\n",1793575889542]