[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:marthas-prize":3},"title: Martha's Prize\ncomposer: Cedar Walton\nstyle: Medium Swing\nkey: Eb\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; Eb\n\nsection: Intro1\n# area: Eb major (Intro1 1 – B 2)\n1 | Bbsus     # static sus: Mixolydian\n1 | C         # a non-tonic major chord: Lydian\n1 | Bbsus     # static sus: Mixolydian\n1 | C         # a non-tonic major chord: Lydian\n2 | N.C.\n3 | N.C.\n4 | N.C.\n5 | Bbsus     # static sus: Mixolydian\n5 | C         # a non-tonic major chord: Lydian\n5 | Bbsus     # static sus: Mixolydian\n5 | C         # a non-tonic major chord: Lydian\n6 | N.C.\n7 | N.C.\n8 | N.C.\n\nsection: Intro2\ncopy: Intro1\n\nsection: A1\nbars: 8\n1 | Fm7       # ii of the ii–V to Eb\n1 | Bb13      # V7 of Eb: natural tensions\n2 | EbMaj7    # tonic: the 4th is in the key\n2 | A7#11     # tritone substitute: resolves down a half step to AbMaj7\n3 | AbMaj7    # the A7#11 before it makes Ab the key of the moment: the 4th is in the key\n3 | G7b13     # V7\u002Fvi in Eb: b9 and b13 are in the key\n4 | Cm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | Fm7       # ii: Dorian, the key’s own notes\n5 | EbMaj7\u002FG  # tonic: the 4th is in the key\n6 | AbMaj7    # IV: the #4 is the key’s 7th\n6 | Adim7     # passing diminished: F7♭9 without its F, the Bb7sus's dominant; not functioning diatonically: the symmetric scale\n7 | Bb7sus    # static sus: Mixolydian\n7 | EMaj7#11  # from the symbol: #11\n\nsection: A2\ncopy: A1\n\nsection: B\n1 | Dm7b5     # iiø7 of C minor: Locrian, the key's own notes (its ♭2 is a passing note)\n1 | G7b9      # V7\u002Fvi in Eb: b9 and b13 are in the key\n2 | Cm6       # a minor sixth chord: Dorian\n# area: B major (B 2–3)\n2 | C#m7      # ii of the ii–V to B\n3 | F#7       # V7 of B: natural tensions\n3 | BMaj7     # tonic: the 4th is in the key\n# area: Eb major (B 4–6)\n4 | Bbm7      # ii of the ii–V to Ab\n4 | Eb7b9     # V7\u002FIV in Eb: the b9 from the symbol\n5 | AbMaj7    # the Eb7b9 before it makes Ab the key of the moment: the 4th is in the key\n5 | G7b9      # V7\u002Fvi in Eb: b9 and b13 are in the key\n6 | Cm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: E major (B 7–8)\n7 | F#m7      # ii of the ii–V to E\n7 | B7        # V7 of E: natural tensions\n8 | EMaj7     # tonic: the 4th is in the key\n\nsection: A3\nbars: 8\n# area: Eb major (A3 1–7)\n1 | Fm7       # ii of the ii–V to Eb\n1 | Bb13      # V7 of Eb: natural tensions\n2 | EbMaj7    # tonic: the 4th is in the key\n2 | A7#11     # tritone substitute: resolves down a half step to AbMaj7\n3 | AbMaj7    # the A7#11 before it makes Ab the key of the moment: the 4th is in the key\n3 | G7b13     # V7\u002Fvi in Eb: b9 and b13 are in the key\n4 | Cm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | Fm7       # ii: Dorian, the key’s own notes\n5 | EbMaj7\u002FG  # tonic: the 4th is in the key\n6 | AbMaj7    # IV: the #4 is the key’s 7th\n6 | Adim7     # passing diminished: F7♭9 without its F, the Bb7sus's dominant; not functioning diatonically: the symmetric scale\n7 | Bb7sus    # static sus: Mixolydian\n7 | EMaj7#11  # from the symbol: #11\n",1793575895001]