[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:nice-work-if-you-can-get-it":3},"title: Nice Work If You Can Get It\ncomposer: George Gershwin\nstyle: Medium Swing\nkey: G\nform: AABA, 34 bars\n# analysis: 2026-10-31, rules v2; G\n\nsection: A1\n# area: G major (A1 1 – B 2)\n1  | B7#5    # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n1  | E7      # extended dominant: each one falls a fifth into the next: natural tensions\n2  | A7#5    # V7 of V7: the dominant of the dominant: #11 and b13 from the symbol\n2  | D7      # extended dominant: V7 of G7\n3  | G7      # extended dominant: V7 of C7\n3  | C7      # IV7 in G, not resolving: the #11 is in the key\n4  | A7      # II7 in G, not resolving: natural tensions\n4  | A#dim7  # vii°7 of Bm7: F#7♭9 without its root\n5  | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | Am7     # ii of D7: Dorian\n6  | D7      # V7\u002FI in G: natural tensions\n7  | Am7     # ii of the ii–V to G\n7  | D7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n8  | G6      # tonic: the 4th is in the key\n8  | C7      # IV7 in G, not resolving: the #11 is in the key\n9  | G6      # tonic: the 4th is in the key\n9  | B7#5    # V7\u002Fvi in G: b9 and b13 are in the key, the #11 from the symbol\n@ending 1 8\n@ending 2 9\n\nsection: B\n1  | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | C7      # IV7 in G, not resolving: the #11 is in the key\n# area: D minor (B 3 – A2 7)\n3  | Em7     # ii of the ii–V to D minor\n4  | A7b13   # V7 of D minor: b9 and b13 are in the key\n5  | Dm      # tonic minor: Dorian by convention\n6  | Em7b5   # iiø7 of A7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | A7b9    # V7\u002Fi in D minor: b9 and b13 are in the key\n7  | Am7     # ii of D7#5: Dorian\n8  | D7#5    # extended ii–V: a side-step, its own key; #11 and b13 from the symbol\n\nsection: A2\n1  | B7#5    # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n1  | E7      # V7 of V7: the dominant of the dominant: natural tensions\n2  | A7#5    # extended dominant: V7 of D7; #11 and b13 from the symbol\n2  | D7      # extended dominant: V7 of G7\n3  | G7      # extended dominant: V7 of C7\n3  | C7      # bVII7 in D minor, not resolving: natural tensions\n4  | A7      # V7 in D minor, not resolving: b9 and b13 are in the key\n4  | A#dim7  # vii°7 of Bm7: F#7♭9 without its root\n5  | Bm7     # a borrowed minor chord: Dorian, its own key\n5  | Em7     # a borrowed minor chord: Dorian, its own key\n6  | Am7     # ii of D7: Dorian\n6  | D7      # extended ii–V: a side-step, its own key\n7  | B7#5    # V7 of E7, on the way to A minor: b9 and b13 are in the key, the #11 from the symbol\n7  | E7      # V7 of A minor, the chain's last link: b9 and b13 are in the key\n# area: G major (A2 8–10)\n8  | Am7     # ii of the ii–V to G\n8  | D7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n9  | G6      # tonic: the 4th is in the key\n10 | C7      # tritone substitute: resolves down a half step to B7#5\n",1793575896907]