[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:north-atlantic-run":3},"title: North Atlantic Run\ncomposer: Gerry Mulligan\nstyle: Latin\nkey: G\nform: AAB, 75 bars\n# analysis: 2026-10-31, rules v2; G\n\nsection: Intro1\n# area: G major (Intro1 1 – B 15)\n1  | GMaj7   # tonic: the 4th is in the key\n2  | GMaj7\n3  | Am7\u002FD   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n4  | Am7\u002FD\n5  | GMaj7   # tonic: the 4th is in the key\n6  | GMaj7\n7  | Am7\u002FD   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n8  | Am7\u002FD\n\nsection: Intro2\ncopy: Intro1\n\nsection: A\n1  | GMaj7   # tonic: the 4th is in the key\n2  | GMaj7\n3  | Am7\u002FD   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n4  | Am7\u002FD\n5  | GMaj7   # tonic: the 4th is in the key\n6  | GMaj7\n7  | Am7\u002FD   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n8  | Am7\u002FD\n9  | GMaj7   # tonic: the 4th is in the key\n10 | GMaj7\n11 | Am7\u002FD   # static sus: Mixolydian\n12 | Am7\u002FD\n13 | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | Bb7     # tritone substitute: resolves down a half step to Am7\n15 | Am7     # ii of D7: Dorian\n16 | D7      # V7\u002FI in G: natural tensions\n17 | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n18 | Eb7     # tritone substitute: resolves down a half step to Dm7\n19 | Dm7     # ii of the ii–V to C\n20 | G7      # V7\u002FIV in G: natural tensions\n@ending 1 13 16\n@ending 2 17 20\n\nsection: B\nbars: 43\n1  | CMaj7   # the G7 before it makes C the key of the moment: the 4th is in the key\n3  | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Bb7     # tritone substitute: resolves down a half step to Am7\n5  | Am7     # ii of the ii–V to G\n6  | D7      # V7 of G: natural tensions\n7  | GMaj7   # tonic: the 4th is in the key\n8  | Db7     # tritone substitute: resolves down a half step to CMaj7\n9  | CMaj7   # the Db7 before it makes C the key of the moment: the 4th is in the key\n10 | F7#11   # ♭VII7 from the parallel minor: Lydian Dominant\n11 | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | Bb7     # tritone substitute: resolves down a half step to Am7\n13 | Am7     # ii of the ii–V to G\n14 | D7      # V7 of G: natural tensions\n15 | GMaj7   # tonic: the 4th is in the key\n# area: Bb major (B 16–21)\n16 | Cm7     # ii of the ii–V to Bb\n16 | F7      # V7 of Bb: natural tensions\n17 | BbMaj7  # tonic: the 4th is in the key\n19 | Cm7\u002FF   # static sus: Mixolydian\n21 | GMaj7   # a non-tonic major chord: Lydian\n# area: G major (B 23–40)\n23 | Am7\u002FD   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n25 | GMaj7   # tonic: the 4th is in the key\n26 | Abdim   # vii°7 of Am7: E7♭9 without its root\n27 | Am7     # ii: Dorian, the key’s own notes\n28 | F7#11   # back door bVII7 to GMaj7: the #11 is in the key\n29 | GMaj7   # tonic: the 4th is in the key\nalt 29 | GMaj7   # tonic: the 4th is in the key\nalt 29 | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n30 | Eb7     # ♭VI7 from the parallel minor: Lydian Dominant\nalt 30 | Eb7     # ♭VI7 from the parallel minor: Lydian Dominant\nalt 30 | Bbm7    # a borrowed minor chord: Dorian, its own key\n31 | Am7     # ii of the ii–V to G\n32 | D7      # V7 of G: natural tensions\n33 | GMaj7   # tonic: the 4th is in the key\n34 | GMaj7\n35 | Am7\u002FD   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n36 | Am7\u002FD\n37 | GMaj7   # tonic: the 4th is in the key\n38 | GMaj7\n39 | Am7\u002FD   # static sus: Mixolydian\n40 | Am7\u002FD\n",1793575897082]