[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:oh-what-a-beautiful-mornin":3},"title: Oh, What A Beautiful Mornin'\ncomposer: Richard Rodgers\nstyle: Waltz\nkey: Eb\ntime: 3\u002F4\nform: ABAB, 68 bars\n# analysis: 2026-10-31, rules v2; Eb\n\nsection: A1\n1  | Eb6        # tonic: the 4th is in the key\n2  | Bb7        # V7 of Eb: natural tensions\n3  | Eb6        # tonic: the 4th is in the key\n4  | Bb7        # V7 of Eb: natural tensions\n5  | Eb6        # tonic: the 4th is in the key\n6  | Bb7        # V7 of the Eb6 before it: natural tensions\n7  | Cm7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | B7         # ♭VI7 from the parallel minor: Lydian Dominant, it returns to I\n9  | EbMaj7\u002FBb  # tonic: the 4th is in the key\n10 | Bb7\u002FAb     # V7 of Eb: natural tensions\n11 | Eb6\u002FG      # tonic: the 4th is in the key\n12 | Ab6        # IV: the #4 is the key’s 7th\n13 | Eb6        # tonic: the 4th is in the key\n14 | Cm7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n15 | C#dim7     # passing diminished: a rootless dominant ♭9; not functioning diatonically: the symmetric scale\n16 | Bb7\u002FD      # V7 of Eb: natural tensions\n\nsection: B1\n1  | Eb6        # tonic: the 4th is in the key\n2  | Eb6\n3  | Gm7b5      # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n3  | C7b9       # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n4  | Fm7        # ii of the ii–V to Eb\n4  | Bb7        # V7 of Eb: natural tensions\n5  | Eb6        # tonic: the 4th is in the key\n6  | Cm7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Fm7        # ii of the ii–V to Eb\n8  | Bb7        # V7 of Eb: natural tensions\n9  | Eb6        # tonic: the 4th is in the key\n10 | Eb6\n11 | AbMaj7#11  # from the symbol: #11\n12 | Adim7      # ♯IV°7 to I over its 5th: D7♭9 without its root, the ♯II°7's notes\n13 | Eb6\u002FBb     # tonic: the 4th is in the key\n14 | Bb7        # V7 of Eb: natural tensions\n15 | Eb6        # tonic: the 4th is in the key\n16 | Bb7        # V7 of Eb: natural tensions\n\nsection: A2\ncopy: A1\n\nsection: B2\n1  | Eb6        # tonic: the 4th is in the key\n2  | Eb6\n3  | Gm7b5      # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n3  | C7b9       # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n4  | Fm7        # ii of the ii–V to Eb\n4  | Bb7        # V7 of Eb: natural tensions\n5  | Eb6        # tonic: the 4th is in the key\n6  | Cm7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Fm7        # ii of the ii–V to Eb\n8  | Bb7        # V7 of Eb: natural tensions\n9  | Eb6        # tonic: the 4th is in the key\n10 | Eb6\n11 | AbMaj7#11  # from the symbol: #11\n12 | Adim7      # ♯IV°7 to I over its 5th: D7♭9 without its root, the ♯II°7's notes\n13 | Eb6\u002FBb     # tonic: the 4th is in the key\n14 | Bb7        # V7 of Eb: natural tensions\n15 | Eb6\u002FG      # tonic: the 4th is in the key\n16 | Fm7        # ii: Dorian, the key’s own notes\n17 | Eb6\u002FBb     # tonic: the 4th is in the key\n18 | Bb7        # V7 of Eb: natural tensions\n19 | Eb6        # tonic: the 4th is in the key\n20 | Eb6\n",1793575897459]