[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:i-gotta-right-to-sing-the-blues":3},"title: I Gotta Right To Sing The Blues\ncomposer: Harold Arlen\nstyle: Ballad\nkey: Bb\nform: AB, 32 bars\n# analysis: 2026-10-31, rules v2; Bb\n\nsection: A\n1  | Gm7      # ii of C7: Dorian\n1  | C7       # V7\u002FV in Bb: natural tensions\n2  | Gm7      # ii of C7: Dorian\n2  | C7       # V7\u002FV in Bb: natural tensions\n3  | Cm7      # ii of F7#5: Dorian\n3  | F7#5     # V7\u002FI in Bb: #11 and b13 from the symbol\n4  | F7#5\n5  | Fm7      # ii of Bb7: Dorian\n5  | Bb7      # V7\u002FIV in Bb: natural tensions\n6  | Fm7      # ii of Bb7: Dorian\n6  | Bb7      # V7\u002FIV in Bb: natural tensions\n7  | Dm7b5    # iiø7 of G7: Locrian, the key's own notes (its ♭2 is a passing note)\nalt 7  | Ebm7     # ii of Ab7: Dorian\nalt 7  | Ab7      # extended ii–V: a side-step, its own key\n8  | G7       # V7\u002Fii in Bb: the b13 is in the key\nalt 8  | Dm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\nalt 8  | G7       # extended ii–V: a side-step, its own key\n9  | Gm7      # ii of C7: Dorian\n9  | C7       # V7\u002FV in Bb: natural tensions\n10 | Gm7      # ii of C7: Dorian\n10 | C7       # V7\u002FV in Bb: natural tensions\n11 | Cm7      # ii of F7: Dorian\n11 | F7       # V7\u002FI in Bb: natural tensions\n12 | Cm7      # ii of the ii–V to Bb\n12 | F7       # V7 of Bb: natural tensions\n13 | Bb6      # tonic: the 4th is in the key\n13 | Cm7      # ii: Dorian, the key’s own notes\nalt 13 | Bb6      # tonic: the 4th is in the key\nalt 13 | Ebm6\u002FBb  # a minor sixth chord: Dorian\n14 | Dbdim7   # vii°7 to Bb6\u002FD, up to its bass: A7♭9 without its root\n14 | Bb6\u002FD    # tonic: the 4th is in the key\nalt 14 | Bbdim7   # auxiliary diminished: it decorates the chord and returns to it\nalt 14 | Bb6      # tonic: the 4th is in the key\n15 | Eb6      # IV: the #4 is the key’s 7th\n15 | Edim7    # ♯IV°7 to I over its 5th: A7♭9 without its root, the ♯II°7's notes\nalt 15 | Cm7\u002FBb   # ii: Dorian, the key’s own notes\nalt 15 | Bbdim7   # auxiliary diminished: it decorates the chord and returns to it\n16 | Bb6\u002FF    # tonic: the 4th is in the key\n16 | G7       # VI7 in Bb, not resolving: the b13 is in the key\nalt 16 | Bb6      # tonic: the 4th is in the key\nalt 16 | Ab7      # tritone substitute: resolves down a half step to G7\nalt 16 | G7       # VI7 in Bb, not resolving: the b13 is in the key\n\nsection: B\n1  | Gm7      # ii of C7: Dorian\n1  | C7       # V7\u002FV in Bb: natural tensions\n2  | Gm7      # ii of C7: Dorian\n2  | C7       # V7\u002FV in Bb: natural tensions\n3  | Cm7      # ii of F7#5: Dorian\n3  | F7#5     # V7\u002FI in Bb: #11 and b13 from the symbol\n4  | F7#5\n5  | Fm7      # ii of Bb7: Dorian\n5  | Bb7      # V7\u002FIV in Bb: natural tensions\n6  | Fm7      # ii of Bb7: Dorian\n6  | Bb7      # V7\u002FIV in Bb: natural tensions\n7  | Dm7b5    # iiø7 of G7: Locrian, the key's own notes (its ♭2 is a passing note)\nalt 7  | Ebm7     # ii of Ab7: Dorian\nalt 7  | Ab7      # extended ii–V: a side-step, its own key\n8  | G7       # V7\u002Fii in Bb: the b13 is in the key\nalt 8  | Dm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\nalt 8  | G7       # extended ii–V: a side-step, its own key\n9  | Gm7      # ii of C7: Dorian\n9  | C7       # V7\u002FV in Bb: natural tensions\n10 | Gm7      # ii of C7: Dorian\n10 | C7       # V7\u002FV in Bb: natural tensions\n11 | Ab7      # tritone substitute: resolves down a half step to Gm7\nalt 11 | Ebm6     # a minor sixth chord: Dorian\n12 | Ab7\nalt 12 | Ebm6\n13 | Gm7      # ii of C7: Dorian\n13 | C7       # V7\u002FV in Bb: natural tensions\n14 | Cm7      # ii of the ii–V to Bb\n14 | F7b9     # V7 of Bb: the b9 from the symbol\n15 | Bb6      # tonic: the 4th is in the key\n16 | Dm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n16 | G7       # extended ii–V: a side-step, its own key\n",1793575890387]