[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:morning":3},"title: Morning\ncomposer: Clare Fischer\nstyle: Latin\nkey: Am\nform: AABC, 32 bars\nrecording: Clare Fischer; Manteca!; Pacific Jazz; 1965\nyoutube: 3Rm1pMsVJGQ\n# analysis: 2026-10-19, rules v2; A minor\n# recording: released November 1965, Pacific Jazz PJ-10096\u002FST-20096, produced by Richard Bock, the first recording of it, with the composer on piano; Fischer's first Afro-Cuban album; later versions by Cal Tjader (Soul Burst, 1966) and Fischer's Salsa Picante (1978) (Wikipedia, MusicBrainz); video: \"Provided to YouTube by Universal Music Group\", Manteca!, the same take\n\n# bar | chord | scale\n\nsection: A1\n# area: A minor (A1 1 – A2 8)\n1 | Bm7     # ii of the ii–V to A minor\n1 | E7      # V7 of A minor: b9 and b13 are in the key\n2 | Am7     # ii of D7: Dorian\n2 | D7      # V7\u002FbVII in A minor: natural tensions\n3 | Bm7     # ii of the ii–V to A minor\n3 | E7      # V7 of A minor: b9 and b13 are in the key\n4 | Am7     # ii of D7: Dorian\n4 | D7      # V7\u002FbVII in A minor: natural tensions\n5 | Dm7     # ii of G7: Dorian\n5 | G7      # V7\u002FbIII in A minor: natural tensions\n6 | Em7     # ii of A7: Dorian\n6 | A7      # extended ii–V: a side-step, its own key\n7 | Bm7     # ii of the ii–V to A minor\n7 | E7      # V7 of A minor: b9 and b13 are in the key\n8 | Am7     # ii of D7: Dorian\n8 | D7      # V7\u002FbVII in A minor: natural tensions\n\nsection: A2\n1 | Bm7     # ii of the ii–V to A minor\n1 | E7      # V7 of A minor: b9 and b13 are in the key\n2 | Am7     # ii of D7: Dorian\n2 | D7      # V7\u002FbVII in A minor: natural tensions\n3 | Bm7     # ii of the ii–V to A minor\n3 | E7      # V7 of A minor: b9 and b13 are in the key\n4 | Am7     # ii of D7: Dorian\n4 | D7      # V7\u002FbVII in A minor: natural tensions\n5 | Dm7     # ii of G7: Dorian\n5 | G7      # V7\u002FbIII in A minor: natural tensions\n6 | Em7     # ii of A7: Dorian\n6 | A7      # extended ii–V: a side-step, its own key\n7 | Bm7     # ii of the ii–V to A minor\n7 | E7      # V7 of A minor: b9 and b13 are in the key\n8 | Am      # tonic minor: Dorian by convention\n\nsection: B\n# area: C major (B 1 – C 6)\n1 | Dm7     # ii of the ii–V to C\n2 | G7sus4  # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n3 | C6      # tonic: the 4th is in the key\n3 | F7      # tritone substitute: resolves down a half step to Em7\n4 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | A7alt   # from the symbol: altered\n5 | Dm7     # ii of G7sus4: Dorian\n6 | G7sus4  # static sus: Mixolydian\n7 | Bm7b5   # iiø7 of E7: Locrian, the key's own notes (its ♭2 is a passing note)\n8 | E7      # V7\u002Fvi in C: b9 and b13 are in the key\n\nsection: C\n1 | Bm7     # ii of the ii–V to A minor\n1 | E7      # V7\u002Fvi in C: b9 and b13 are in the key\n2 | Am7     # ii of D7: Dorian\n2 | D7      # V7\u002FV in C: natural tensions\n3 | Bm7     # ii of the ii–V to A minor\n3 | E7      # V7\u002Fvi in C: b9 and b13 are in the key\n4 | Am7     # ii of D7: Dorian\n4 | D7      # V7\u002FV in C: natural tensions\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 | A7      # extended ii–V: a side-step, its own key\n# area: A minor (C 7–8)\n7 | Bm7     # ii of the ii–V to A minor\n7 | E7      # V7 of A minor: b9 and b13 are in the key\n8 | Am      # tonic minor: Dorian by convention\n",1793484801501]