[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:i-get-along-without-you":3},"title: I Get Along Without You\ncomposer: Hoagy Carmichael\nstyle: Ballad\nkey: Bb\nform: AABA, 64 bars\n# analysis: 2026-10-31, rules v2; Bb\n\nsection: A1\n1  | BbMaj7  # 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  | BbMaj7  # tonic: the 4th is in the key\n3  | EbMaj7  # IV: the #4 is the key’s 7th\n4  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Dbdim7  # passing diminished: C7♭9 without its C, the F7's dominant (Cm7 its ii)\n5  | Cm7     # ii of F7: Dorian\n6  | F7      # V7\u002FI in Bb: natural tensions\n7  | Cm7     # ii of F7: Dorian\n8  | F7      # V7\u002FI in Bb: natural tensions\n9  | Cm7     # ii: Dorian, the key’s own notes\n10 | B7#5    # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b13 from the symbol\n11 | Cm7     # ii of the ii–V to Bb\n12 | F7      # V7 of Bb: natural tensions\n13 | BbMaj7  # tonic: the 4th is in the key\n13 | EbMaj7  # IV: the #4 is the key’s 7th\n14 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | Dbdim7  # passing diminished: C7♭9 without its C, the F7's dominant (Cm7 its ii)\n15 | Cm7     # ii of F7: Dorian\n16 | F7      # V7\u002FI in Bb: natural tensions\n17 | Cm7     # ii: Dorian, the key’s own notes\n17 | G7b13   # V7\u002Fii in Bb: the b13 is in the key\n18 | Cm7     # ii of the ii–V to Bb\n18 | F7      # V7 of Bb: natural tensions\n19 | BbMaj7  # tonic: the 4th is in the key\n19 | Bdim7   # vii°7 of Cm7: G7♭9 without its root\n20 | Cm7     # ii of the ii–V to Bb\n20 | F7      # V7 of Bb: natural tensions\n21 | BbMaj7  # tonic: the 4th is in the key\n22 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n22 | Dbdim7  # passing diminished: C7♭9 without its C, the F7's dominant (Cm7 its ii)\n23 | Cm7     # ii of the ii–V to Bb\n24 | F7      # V7 of Bb: natural tensions\n25 | BbMaj7  # tonic: the 4th is in the key\n25 | F7      # V7 of Bb: natural tensions\n26 | BbMaj7  # tonic: the 4th is in the key\n@ending 1 17 20\n@ending 2 21 26\n\nsection: B\n1  | Eb6     # IV: the #4 is the key’s 7th\n1  | Eb\u002FD    # IV: the #4 is the key’s 7th\n2  | Cm7     # ii of the ii–V to Bb\n2  | F7      # V7 of Bb: natural tensions\n3  | BbMaj7  # tonic: the 4th is in the key\n3  | Eb6     # IV: the #4 is the key’s 7th\n4  | D7      # III7 in Bb, not resolving: b9 and b13 are in the key\n4  | Ab7     # tritone substitute: resolves down a half step to Gm7\n5  | Gm7     # ii of C7: Dorian\n6  | C7      # V7\u002FV in Bb: natural tensions\n7  | Cm7     # ii of the ii–V to Bb\n8  | F7      # V7 of Bb: natural tensions\n\nsection: A2\n1  | BbMaj7  # 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  | BbMaj7  # tonic: the 4th is in the key\n3  | EbMaj7  # IV: the #4 is the key’s 7th\n4  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Dbdim7  # passing diminished: C7♭9 without its C, the F7's dominant (Cm7 its ii)\n5  | Cm7     # ii of F7: Dorian\n6  | F7      # V7\u002FI in Bb: natural tensions\n7  | Cm7     # ii of F7: Dorian\n8  | F7      # V7\u002FI in Bb: natural tensions\n9  | Cm7     # ii: Dorian, the key’s own notes\n10 | B7#5    # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b13 from the symbol\n11 | Cm7     # ii of the ii–V to Bb\n12 | F7      # V7 of Bb: natural tensions\n13 | Bb6     # tonic: the 4th is in the key\n14 | Cm7     # ii of the ii–V to Bb\n14 | F7      # V7 of Bb: natural tensions\n",1793575890325]