[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:milano":3},"title: Milano\ncomposer: John Lewis\nstyle: Slow Swing\nkey: C\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A1\n1 | Dm7    # ii of the ii–V to C\n1 | G7     # V7 of C: natural tensions\n2 | CMaj7  # tonic: the 4th is in the key\n2 | Am7    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Dm7    # ii of G7: Dorian\n3 | G7     # extended dominant: V7 of C7\n4 | C7     # I7 in C, not resolving: natural tensions\n4 | F#7    # tritone substitute: resolves down a half step to FMaj7\n5 | FMaj7  # the F#7 before it makes F the key of the moment: the 4th is in the key\n5 | Dm7    # ii of G7: Dorian\n5 | G7     # V7\u002FI in C: natural tensions\n6 | Em7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | A7b9   # V7\u002Fii in C: the b13 is in the key, the b9 from the symbol\n7 | Dm7    # ii of the ii–V to C\n7 | G7     # V7 of C: natural tensions\n8 | CMaj7  # tonic: the 4th is in the key\n8 | A7b9   # VI7 in C, not resolving: the b13 is in the key, the b9 from the symbol\n9 | Gm7    # ii of the ii–V to F\n9 | C7     # V7\u002FIV in C: natural tensions\n@ending 1 8\n@ending 2 9\n\nsection: B\n1 | FMaj7  # the C7 before it makes F the key of the moment: the 4th is in the key\n1 | Fm6    # a minor sixth chord: Dorian\n2 | Em7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | Am7    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Dm7    # ii of G7: Dorian\n3 | G7     # extended dominant: V7 of C7\n4 | C7     # I7 in C, not resolving: natural tensions\n4 | Gm7    # ii of the ii–V to F\n4 | C7#5   # V7\u002FIV in C: #11 and b13 from the symbol\n5 | FMaj7  # the C7#5 before it makes F the key of the moment: the 4th is in the key\n5 | Fm6    # a minor sixth chord: Dorian\n6 | Em7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | Am7    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7 | Fm7b5  # ivø7 in C: Locrian, its own mode (the chord is outside the key)\n7 | B7b9   # V7\u002Fiii in C: b9 and b13 are in the key\n8 | Em7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8 | A7b9   # V7\u002Fii in C: the b13 is in the key, the b9 from the symbol\n\nsection: A2\n1 | Dm7    # ii of the ii–V to C\n1 | G7     # V7 of C: natural tensions\n2 | CMaj7  # tonic: the 4th is in the key\n2 | Am7    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Dm7    # ii of G7: Dorian\n3 | G7     # extended dominant: V7 of C7\n4 | C7     # I7 in C, not resolving: natural tensions\n4 | F#7    # tritone substitute: resolves down a half step to FMaj7\n5 | FMaj7  # the F#7 before it makes F the key of the moment: the 4th is in the key\n5 | Dm7    # ii of G7: Dorian\n5 | G7     # V7\u002FI in C: natural tensions\n6 | Em7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | A7b9   # V7\u002Fii in C: the b13 is in the key, the b9 from the symbol\n7 | Dm7    # ii of the ii–V to C\n7 | G7b9   # V7 of C: the b9 from the symbol\n8 | C6     # tonic: the 4th is in the key\n8 | A7#5   # V7\u002Fii in C: the b13 is in the key, the #11 from the symbol\n@coda 7\n\nsection: Coda\n1 | Em7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n1 | A7#5   # V7\u002Fii in C: the b13 is in the key, the #11 from the symbol\n2 | Dm7    # ii of the ii–V to C\n2 | G7b9   # V7 of C: the b9 from the symbol\n3 | C6     # tonic: the 4th is in the key\n@coda 1\n",1793575895273]