[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:heres-to-my-lady":3},"title: Here's To My Lady\ncomposer: Bloom, Johnny Mercer\nstyle: Medium Swing\nkey: Eb\nform: ABCD, 32 bars\n# analysis: 2026-10-31, rules v2; Eb\n\nsection: A\n1 | EbMaj7  # tonic: the 4th is in the key\n1 | Fm7     # ii: Dorian, the key’s own notes\n2 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | Db7     # tritone substitute: resolves down a half step to Cm7\n3 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | B7#9    # tritone substitute: resolves down a half step to Bbm7; b9 and #9 from the symbol\n4 | Bbm7    # ii of the ii–V to Ab\n4 | Eb7     # V7\u002FIV in Eb: natural tensions\n5 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n5 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | Fm7     # ii: Dorian, the key’s own notes\n6 | Fm7\u002FEb  # ii: Dorian, the key’s own notes\n7 | Dm7b5   # viiø7 in Eb: Locrian, the key's own notes (its ♭2 is a passing note)\n8 | Db7#11  # back door bVII7 to EbMaj7: the #11 is in the key\n\nsection: B\n1 | EbMaj7  # tonic: the 4th is in the key\n1 | Db7     # tritone substitute: resolves down a half step to Cm7\n2 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Fm7     # ii of the ii–V to Eb\n3 | Bb7     # V7 of Eb: natural tensions\n4 | EbMaj7  # tonic: the 4th is in the key\n4 | Db7     # tritone substitute: resolves down a half step to Cm7\n5 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | CmMaj7  # from the symbol: minor-major 7th\n6 | Cm7     # ii of F7: Dorian\n6 | F7      # V7\u002FV in Eb: natural tensions\n7 | Fm7     # ii of the ii–V to Eb\n8 | Bb7     # V7 of Eb: natural tensions\n\nsection: C\n1 | EbMaj7  # tonic: the 4th is in the key\n1 | Bb7     # V7 of the EbMaj7 before it: natural tensions\n2 | Bbm7    # ii of the ii–V to Ab\n2 | Eb7     # V7\u002FIV in Eb: natural tensions\n3 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n4 | Abm7    # ii of Db7: Dorian\n4 | Db7     # tritone substitute: resolves down a half step to Cm7\n5 | Cm7     # ii of F7: Dorian\n6 | F7      # V7\u002FV in Eb: natural tensions\n7 | Fm7     # ii of Bb7sus: Dorian\n8 | Bb7sus  # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8 | Bb7b9   # V7 of Eb: the b9 from the symbol\n\nsection: D\n1 | EbMaj7  # tonic: the 4th is in the key\n1 | Fm7     # ii: Dorian, the key’s own notes\n2 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | G7#5    # III7 in Eb, not resolving: b9 and b13 are in the key, the #11 from the symbol\n3 | AbMaj7  # IV: the #4 is the key’s 7th\n3 | Bbm7    # a borrowed minor chord: Dorian, its own key\n4 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | Db7     # ♭VII7 from the parallel minor: Lydian Dominant\n5 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5 | Gb7     # tritone substitute: resolves down a half step to Fm7\n6 | Fm7     # ii of the ii–V to Eb\n6 | Bb7     # V7 of Eb: natural tensions\n7 | Eb6     # tonic: the 4th is in the key\n7 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8 | Fm7     # ii of the ii–V to Eb\n8 | Bb7sus  # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n",1793575889603]