[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:im-all-smiles":3},"title: I'm All Smiles\ncomposer: Michael Leonard\nstyle: Jazz waltz\n# book: Med. Jazz Waltz\nkey: D\nform: AABC, 78 bars\ntime: 3\u002F4\nrecording: Bill Evans; From Left to Right; MGM; 1971\nyoutube: kvpJOf1eEtI\n# analysis: 2026-10-19, rules v2; D\n# recording: recorded 1969–70, San Francisco, Bill Evans (piano, Fender Rhodes) with Eddie Gómez, Marty Morell, Sam Brown and an orchestra arranged and conducted by Michael Leonard, the song's composer; show song from The Yearling (1965) → Evans's reading, in the composer's own arrangement, over Hampton Hawes's live trio (recorded 1966, issued 1973) (Wikipedia, MusicBrainz); video: \"Provided to YouTube by Universal Music Group\", The Complete Bill Evans On Verve, the same take (Leonard credited)\n\n# the C section is 30 bars, as printed\n# bar | chord\n\nsection: A\n# area: G minor (A 1–8)\n1  | D7#9        # V7 of G minor: the b13 is in the key, b9, #9 and #11 from the symbol\n2  | Gm7         # tonic minor: Dorian by convention\n3  | C#7#9       # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b9 and #9 from the symbol\n4  | B6\u002FC        # a non-tonic major chord: Lydian\n4  | C6          # a non-tonic major chord: Lydian\n# alt: bar 4 (E\u002FF FMaj7)\n5  | Am7         # ii of D9: Dorian\n6  | D9          # extended ii–V: a side-step, its own key\n7  | Bm7         # ii of E9: Dorian\n8  | E9          # extended ii–V: a side-step, its own key\n# area: B major (A 9–12)\n9  | C#m7        # ii of the ii–V to B\n10 | F#9         # V7 of B: natural tensions\n11 | BMaj7       # tonic: the 4th is in the key\n12 | G#m7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: D major (A 13 – B 4)\n13 | Em7         # ii of the ii–V to D\n14 | A7          # V7 of D: natural tensions\n15 | DMaj9       # tonic: the 4th is in the key\n16 | DMaj9\n# bar 16: DMaj9 held (repeated for the ending bracket) under an instrumental fill\n17 | Em7         # ii of the ii–V to D\n18 | A7          # V7 of D: natural tensions\n19 | DMaj7       # tonic: the 4th is in the key\n20 | DMaj7\n# alt: bars 19–20 (F#m7 D\u002FF#)\n# bar 20: DMaj7 held (repeated for the ending bracket)\n@ending 1 13 16\n@ending 2 17 20\n\nsection: B\n1  | GbMaj7      # a non-tonic major chord: Lydian\n2  | Ab9         # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n# alt: bar 2 (Ab9\u002FGb)\n3  | Fm7         # ii of Bb7: Dorian\n4  | Bb7         # extended ii–V: a side-step, its own key\n# area: F major (B 5–7)\n5  | Gm7b5       # iiø7 of F: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | C7b5        # V7 of F: the #11 from the symbol\n7  | FMaj7       # tonic: the 4th is in the key\n# alt: bar 8 (BbMaj7)\n# area: D major (B 9–15)\n9  | Em7(add11)  # ii of the ii–V to D\n10 | A7          # V7 of D: natural tensions\n11 | DMaj7       # tonic: the 4th is in the key\n13 | GMaj9#11    # from the symbol: #11\n14 | F#m11       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | B7b5        # tritone substitute: resolves down a half step to Bb9b5\n15 | Bb9b5       # tritone substitute: resolves down a half step to A9\n# area: G minor (B 16 – C 8)\n16 | A9          # V7 of V7: the dominant of the dominant, on the way to G minor: the b13 is in the key, the 9 from the symbol\n\nsection: C\nbars: 32\n1  | D7#9        # V7 of G minor, the chain's last link: the b13 is in the key, b9, #9 and #11 from the symbol\n2  | Gm7         # tonic minor: Dorian by convention\n3  | C#7#9       # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b9 and #9 from the symbol\n4  | B6\u002FC        # a non-tonic major chord: Lydian\n4  | C6          # a non-tonic major chord: Lydian\n# alt: bar 4 (E\u002FF FMaj7)\n5  | Am7         # ii of D9: Dorian\n6  | D9          # extended ii–V: a side-step, its own key\n7  | Bm7         # ii of E9: Dorian\n8  | E9          # extended ii–V: a side-step, its own key\n# area: B major (C 9–12)\n9  | C#m7        # ii of the ii–V to B\n10 | F#9         # V7 of B: natural tensions\n11 | BMaj7       # tonic: the 4th is in the key\n12 | G#m7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: D major (C 13–29)\n13 | Em7         # ii of the ii–V to D\n14 | A7          # V7 of D: natural tensions\n15 | DMaj7       # tonic: the 4th is in the key\n16 | D7          # I7 in D, not resolving: natural tensions\n17 | F#\u002FG        # a non-tonic major chord: Lydian\n17 | GMaj7       # IV: the #4 is the key’s 7th\n18 | E7\u002FG#       # V7 of V7: the dominant of the dominant: natural tensions\n19 | A7          # V7 in D, not resolving: natural tensions\n20 | A7\u002FG        # V7 in D, not resolving: natural tensions\n21 | F#m7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n22 | Bm7         # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n23 | Em7         # ii of A9sus4: Dorian\n24 | A9sus4      # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n24 | A7\u002FG        # V7 in D, not resolving: natural tensions\n25 | F#7         # V7\u002Fvi in D: b9 and b13 are in the key\n26 | Bm7         # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n27 | Em7         # ii of A9sus4: Dorian\n28 | A9sus4      # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n28 | A7          # V7 of D: natural tensions\n29 | D6          # tonic: the 4th is in the key\n",1793484800292]