[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:prelude-to-a-kiss":3},"title: Prelude To A Kiss\ncomposer: Duke Ellington\nstyle: Ballad\nkey: C\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A1\n# area: C major (A1 1–9)\n1 | D9      # V7 of V7: the dominant of the dominant: natural tensions\n1 | G9      # extended dominant: V7 of C7\n2 | C7      # V7\u002FIV in C: natural tensions\n2 | FMaj7   # the C7 before it makes F the key of the moment: the 4th is in the key\n3 | B9      # V7 of E9, on the way to D minor: the b13 is in the key, the 9 from the symbol\n3 | E9      # V7 of A7, on the way to D minor: the b13 is in the key, the 9 from the symbol\n4 | A7      # V7 of D minor, the chain's last link: b9 and b13 are in the key\n4 | Dm7     # ii of G7: Dorian\n5 | Dm7\n5 | G7      # V7\u002FI in C: natural tensions\n5 | G#dim   # vii°7 of Am7: E7♭9 without its root\n6 | Am7     # ii of D13: Dorian\n6 | D13     # V7\u002FV in C: natural tensions\n7 | Dm7     # ii of the ii–V to C\n7 | G7b9    # V7 of C: the b9 from the symbol\n8 | CMaj7   # tonic: the 4th is in the key\n8 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8 | A7      # extended ii–V: a side-step, its own key\n9 | CMaj7   # tonic: the 4th is in the key\n# area: E major (A1 9 – B 1)\n9 | F#m7b5  # iiø7 of E: Locrian, the key's own notes (its ♭2 is a passing note)\n9 | B7      # V7 of E: natural tensions\n@ending 1 8\n@ending 2 9\n\nsection: B\n1 | EMaj7   # tonic: the 4th is in the key\n1 | C#m7    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: C major (B 2–3)\n2 | F#m7b5  # iiø7 of B7: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | B7      # V7\u002Fiii in C: b9 and b13 are in the key\n3 | G#m7    # a borrowed minor chord: Dorian, its own key\n3 | Gdim7   # passing diminished: F#7♭9 without its F#, the B7's dominant; not functioning diatonically: the symmetric scale\n# area: E major (B 4–5)\n4 | F#m7    # ii of the ii–V to E\n4 | B7      # V7 of E: natural tensions\n5 | EMaj7   # tonic: the 4th is in the key\n5 | C#m7    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: C major (B 6 – A2 8)\n6 | F#m7b5  # iiø7 of B7: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | B7      # V7 of E7, on the way to D minor: b9 and b13 are in the key\n7 | E7      # V7 of A7, on the way to D minor: b9 and b13 are in the key\n7 | A7      # V7 of D minor, the chain's last link: b9 and b13 are in the key\n8 | Dm7     # ii: Dorian, the key’s own notes\n8 | Ebm7    # a borrowed minor chord: Dorian, its own key\n8 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8 | Eb7     # tritone substitute: resolves down a half step to D9\n\nsection: A2\n1 | D9      # V7 of V7: the dominant of the dominant: natural tensions\n1 | G9      # extended dominant: V7 of C7\n2 | C7      # V7\u002FIV in C: natural tensions\n2 | FMaj7   # the C7 before it makes F the key of the moment: the 4th is in the key\n3 | B9      # V7 of E9, on the way to D minor: the b13 is in the key, the 9 from the symbol\n3 | E9      # V7 of A7, on the way to D minor: the b13 is in the key, the 9 from the symbol\n4 | A7      # V7 of D minor, the chain's last link: b9 and b13 are in the key\n4 | Dm7     # ii of G7: Dorian\n5 | Dm7\n5 | G7      # V7\u002FI in C: natural tensions\n5 | G#dim   # vii°7 of Am7: E7♭9 without its root\n6 | Am7     # ii of D13: Dorian\n6 | D13     # V7\u002FV in C: natural tensions\n7 | Dm7     # ii of the ii–V to C\n7 | G7b9    # V7 of C: the b9 from the symbol\n8 | CMaj7   # tonic: the 4th is in the key\n8 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8 | A7      # extended dominant: each one falls a fifth into the next: natural tensions\n",1793575898679]