[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:moonlight-in-vermont":3},"title: Moonlight in Vermont\nsubtitle: Ballad (6 6 8 6)\ncomposer: Karl Suessdorf\nstyle: Ballad\nkey: Eb\nform: AABC, 26 bars\nrecording: Johnny Smith Quintet; Jazz at NBC; Royal Roost; 1953\nyoutube: 69fmCGek4Hg\n# analysis: 2026-10-19, rules v2; Eb\n# recording: recorded 1952-03-11, NYC, Johnny Smith with Stan Getz, Sanford Gold, Eddie Safranski, Don Lamond; first issued on 78 (Royal Roost 547, with Tabu), 1952; first LP the 10\" Royal Roost RLP 410 (1953), later the 12\" Moonlight in Vermont (Roost, 1956); songbook standard → the Smith\u002FGetz record, the 1952 hit, is the jazz reference; sources: jazzdisco, Discogs, MusicBrainz, Wikipedia; video: \"Provided to YouTube by Parlophone UK\", Moonlight In Vermont, the same take\n\n# bar | chord | scale\n\nsection: Tag\nbars: 4\n# area: Eb major (Tag 1 – A2 6)\n1 | F7#11   # II7 in Eb, not resolving: the #11 from the symbol\n2 | Fm7     # ii: Dorian, the key’s own notes\n2 | E7      # tritone substitute: resolves down a half step to EbMaj7\n3 | EbMaj7  # tonic: the 4th is in the key\n\nsection: A1\n# the bridge's \"standard\" chords; the lead sheet also offers Bm7 Bb7 \u002F Cm7 B7 \u002F EMaj7 A7 substitutes.\n# the tag is for the end of the head, not the solos\n1 | EbMaj7  # tonic: the 4th is in the key\n1 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2 | Fm7     # ii of the ii–V to Eb\n2 | Bb7b9   # V7 of Eb: the b9 from the symbol\n3 | EbMaj7  # tonic: the 4th is in the key\n3 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | Db7#11  # ♭VII7 from the parallel minor: Lydian Dominant\n5 | Fm7     # ii of the ii–V to Eb\n5 | Bb7b9   # V7 of Eb: the b9 from the symbol\n6 | EbMaj7  # tonic: the 4th is in the key\n\nsection: A2\ncopy: A1\n\nsection: B\n# area: G major (B 1–4)\n1 | Am7     # ii of the ii–V to G\n1 | D7      # V7 of G: natural tensions\n2 | GMaj7   # tonic: the 4th is in the key\n2 | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Am7     # ii of the ii–V to G\n3 | D7      # V7 of G: natural tensions\n4 | GMaj7   # tonic: the 4th is in the key\n# area: Eb major (B 5 – C 6)\n5 | Bbm7    # ii of the ii–V to Ab\n5 | Eb7     # V7\u002FIV in Eb: natural tensions\n6 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n6 | Fm7     # ii: Dorian, the key’s own notes\n7 | Bbm7    # ii of the ii–V to Ab\n7 | Eb7     # V7\u002FIV in Eb: natural tensions\n8 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n8 | Bb7b9   # V7 of Eb: the b9 from the symbol\n\nsection: C\nbars: 8\n1 | EbMaj7  # tonic: the 4th is in the key\n1 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2 | Fm7     # ii of the ii–V to Eb\n2 | Bb7b9   # V7 of Eb: the b9 from the symbol\n3 | EbMaj7  # tonic: the 4th is in the key\n3 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | Db7#11  # ♭VII7 from the parallel minor: Lydian Dominant\n5 | Fm7     # ii of the ii–V to Eb\n5 | Bb7     # V7 of Eb: natural tensions\n6 | Eb6\u002F9   # tonic: the 4th is in the key\n",1793484801489]