[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:it-was-so-good-while-it-lasted":3},"title: It Was So Good While It Lasted\ncomposer: Poll, Ackers\nstyle: Medium Swing\nkey: C\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A1\n# area: C major (A1 1–10)\n1  | CMaj7   # tonic: the 4th is in the key\n1  | B7      # V7\u002Fiii in C: b9 and b13 are in the key\n2  | Em7b5   # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | A7b9    # V7\u002Fii in C: the b13 is in the key, the b9 from the symbol\n3  | Dm7     # ii: Dorian, the key’s own notes\n3  | Dm7\u002FC   # ii: Dorian, the key’s own notes\n4  | Bb7     # tritone substitute: resolves down a half step to Am7\n5  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5  | Am7\u002FG   # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | F#m7b5  # #ivø7 in C: Locrian, its own mode (the chord is outside the key)\n6  | D7      # II7 in C, not resolving: natural tensions\n7  | Am7     # ii of D7: Dorian\n7  | D7      # V7\u002FV in C: natural tensions\n8  | Ab7#11  # tritone substitute: resolves down a half step to G7\n8  | G7      # V7 in C, not resolving: natural tensions\n9  | Dm7     # ii of the ii–V to C\n9  | G7      # V7 of C: natural tensions\n10 | C6      # tonic: the 4th is in the key\n# area: E major (A1 10 – B 5)\n10 | F7      # tritone substitute: resolves down a half step to EMaj7\n@ending 1 7 8\n@ending 2 9 10\n\nsection: B\n1  | EMaj7   # tonic: the 4th is in the key\n1  | Fdim7   # vii°7 of F#m7: C#7♭9 without its root\n2  | F#m7    # ii of B7: Dorian\n2  | B7      # V7\u002FI in E: natural tensions\n3  | G#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | Gdim7   # passing diminished: F#7♭9 without its F#, the B7's dominant (F#m7 its ii)\n4  | F#m7    # ii of B7: Dorian\n4  | B7      # V7\u002FI in E: natural tensions\n5  | GMaj7   # ♭IIImaj7, borrowed from E minor: Lydian (its ♯11 is in the key)\n5  | G#dim7  # vii°7 of Am7: E7♭9 without its root\n# area: C major (B 6 – A2 8)\n6  | Am7     # ii of D7: Dorian\n6  | D7      # V7\u002FV in C: natural tensions\n7  | Dm7     # ii of G7sus: Dorian\n8  | G7sus   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | G7      # V7 of C: natural tensions\n\nsection: A2\n1  | CMaj7   # tonic: the 4th is in the key\n1  | B7      # V7\u002Fiii in C: b9 and b13 are in the key\n2  | Em7b5   # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | A7b9    # V7\u002Fii in C: the b13 is in the key, the b9 from the symbol\n3  | Dm7     # ii: Dorian, the key’s own notes\n3  | Dm7\u002FC   # ii: Dorian, the key’s own notes\n4  | Bb7     # tritone substitute: resolves down a half step to Am7\n5  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5  | Am7\u002FG   # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | F#m7b5  # #ivø7 in C: Locrian, its own mode (the chord is outside the key)\n6  | D7      # II7 in C, not resolving: natural tensions\n7  | Dm7     # ii of the ii–V to C\n7  | G7      # V7 of C: natural tensions\n8  | C6      # tonic: the 4th is in the key\n8  | G7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n",1793575892052]