[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:isnt-it-a-pity":3},"title: Isn't It A Pity\ncomposer: George Gershwin\nstyle: Ballad\nkey: C\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A1\n# area: C major (A1 1 – B 2)\n1  | CMaj7   # tonic: the 4th is in the key\n1  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | F#m7b5  # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | B7b9    # V7\u002Fiii in C: b9 and b13 are in the key\n3  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | A7      # V7\u002Fii in C: the b13 is in the key\n4  | Dm7     # ii of the ii–V to C\n4  | G7      # V7 of C: natural tensions\n5  | CMaj7   # tonic: the 4th is in the key\n5  | Gm7     # ii of the ii–V to F\n5  | C7      # V7\u002FIV in C: natural tensions\n6  | FMaj7   # the C7 before it makes F the key of the moment: the 4th is in the key\n6  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Dm7     # ii of the ii–V to C\n6  | G7      # V7 of C: natural tensions\n7  | CMaj7   # tonic: the 4th is in the key\n7  | A7      # V7\u002Fii in C: the b13 is in the key\n8  | Dm7     # ii of the ii–V to C\n8  | G7      # V7 of C: natural tensions\n9  | C6      # tonic: the 4th is in the key\n10 | F#m7b5  # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n10 | B7b9#9  # V7\u002Fiii in C: the b13 is in the key, b9, #9 and #11 from the symbol\n@ending 1 7 8\n@ending 2 9 10\n\nsection: B\n1  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n1  | C#7b13  # V7\u002F#iv in C: b9, #11 and b13 are in the key\n2  | F#m7b5  # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | B7b9    # V7\u002Fiii in C: b9 and b13 are in the key\n# area: G major (B 3–8)\n3  | Em7     # ii of A7: Dorian\n4  | A7      # extended dominant: V7 of D7sus\n4  | D7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n5  | GMaj7   # tonic: the 4th is in the key\n5  | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | Am7     # ii of D7: Dorian\n6  | D7      # extended dominant: V7 of G7sus\n7  | G7sus   # static sus: Mixolydian\n8  | F7#11   # ♭VII7 from the parallel minor: Lydian Dominant\n# area: C major (B 8 – A2 8)\n8  | Db7#11  # tritone substitute: resolves down a half step to CMaj7\n\nsection: A2\n1  | CMaj7   # tonic: the 4th is in the key\n1  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | F#m7b5  # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | B7b9    # V7\u002Fiii in C: b9 and b13 are in the key\n3  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | A7      # V7\u002Fii in C: the b13 is in the key\n4  | Dm7     # ii of the ii–V to C\n4  | G7      # V7 of C: natural tensions\n5  | CMaj7   # tonic: the 4th is in the key\n5  | Gm7     # ii of the ii–V to F\n5  | C7      # V7\u002FIV in C: natural tensions\n6  | FMaj7   # the C7 before it makes F the key of the moment: the 4th is in the key\n6  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Dm7     # ii of the ii–V to C\n6  | G7      # V7 of C: natural tensions\n7  | C6      # tonic: the 4th is in the key\n8  | Dm7     # ii of the ii–V to C\n8  | G7      # V7 of C: natural tensions\n",1793575891906]