[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:my-ship":3},"title: My Ship\ncomposer: Kurt Weill\nstyle: Ballad\nkey: F\nform: AABC, 38 bars\n# analysis: 2026-10-31, rules v2; F\n\nsection: A\n1  | FMaj7   # tonic: the 4th is in the key\n1  | D7      # extended dominant: each one falls a fifth into the next: natural tensions\n2  | G7      # V7 of V7: the dominant of the dominant: natural tensions\n2  | C7      # V7 of F: natural tensions\n3  | FMaj7   # tonic: the 4th is in the key\n3  | D7      # VI7 in F, not resolving: the b13 is in the key\n4  | Bm7b5   # #ivø7 in F: Locrian, its own mode (the chord is outside the key)\n4  | Bb7     # tritone substitute: resolves down a half step to Am7\n5  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | D7      # V7\u002Fii in F: the b13 is in the key\n6  | Gm7     # ii: Dorian, the key’s own notes\n6  | A7      # V7\u002Fvi in F: b9 and b13 are in the key\n7  | Dm7     # ii of G7: Dorian\n7  | G7      # V7\u002FV in F: natural tensions\n8  | Gm7     # ii of C7: Dorian\n8  | C7      # V7\u002FI in F: natural tensions\n9  | Dm7     # ii of G7: Dorian\n9  | G7      # extended dominant: V7 of C7sus\n10 | C7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n10 | FMaj7   # tonic: the 4th is in the key\n@ending 1 7 8\n@ending 2 9 10\n\nsection: B\n1  | Gm7     # ii of C7: Dorian\n1  | C7      # V7\u002FI in F: natural tensions\n2  | Gm7     # ii of C7: Dorian\n2  | C7      # V7\u002FI in F: natural tensions\n3  | Gm7     # ii: Dorian, the key’s own notes\n3  | Bbm6    # a minor sixth chord: Dorian\n4  | FMaj7   # tonic: the 4th is in the key\n4  | Bm7b5   # iiø7 of A minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | E7      # V7\u002Fiii in F: b9 and b13 are in the key\n5  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | D7      # V7\u002Fii in F: the b13 is in the key\n8  | Gm7     # ii of the ii–V to F\n8  | C7      # V7 of F: natural tensions\n\nsection: C\n1  | FMaj7   # tonic: the 4th is in the key\n1  | D7      # extended dominant: each one falls a fifth into the next: natural tensions\n2  | G7      # V7 of V7: the dominant of the dominant: natural tensions\n2  | C7      # V7 of F: natural tensions\n3  | FMaj7   # tonic: the 4th is in the key\n3  | D7      # VI7 in F, not resolving: the b13 is in the key\n4  | Bm7b5   # #ivø7 in F: Locrian, its own mode (the chord is outside the key)\n4  | Bb7     # tritone substitute: resolves down a half step to Am7\n5  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | D7      # V7\u002Fii in F: the b13 is in the key\n6  | Gm7     # ii: Dorian, the key’s own notes\n6  | A7      # V7\u002Fvi in F: b9 and b13 are in the key\n7  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | C7      # V7 of F: natural tensions\n8  | FMaj7   # tonic: the 4th is in the key\n8  | F#dim   # vii°7 of Gm7: D7♭9 without its root\n8  | Gm7     # ii of the ii–V to F\n8  | C7      # V7 of F: natural tensions\n9  | FMaj7   # tonic: the 4th is in the key\n9  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n10 | BbMaj7  # IV: the #4 is the key’s 7th\n10 | Eb7     # ♭VII7 from the parallel minor: Lydian Dominant\n11 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n11 | Ab7     # tritone substitute: resolves down a half step to Gm7\n12 | Gm7     # ii of the ii–V to F\n12 | C7      # V7 of F: natural tensions\n13 | F6      # tonic: the 4th is in the key\n14 | Gm7     # ii of the ii–V to F\n14 | C7      # V7 of F: natural tensions\n",1793575896570]