[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:quiet-now":3},"title: Quiet Now\ncomposer: Denny Zeitlin\nstyle: Ballad\nkey: C\nform: ABCA, 34 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A1\n# area: C major (A1 1 – B 1)\n1  | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n1  | FMaj7     # IV: the #4 is the key’s 7th\n2  | E7        # V7\u002Fvi in C: b9 and b13 are in the key\n2  | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Dm7       # ii of the ii–V to C\n3  | G7        # V7 of C: natural tensions\n3  | CMaj7     # tonic: the 4th is in the key\n4  | Bb7#11    # tritone substitute: resolves down a half step to A7#5\n4  | A7#5      # V7\u002Fii in C: the b13 is in the key, the #11 from the symbol\n5  | Dm7b5\u002FAb  # iiø7 of G7: Locrian, the key's own notes (its ♭2 is a passing note)\n5  | G7        # extended ii–V: a side-step, its own key: b9 and b13 are in the key\n5  | E7        # V7\u002Fvi in C: b9 and b13 are in the key\n6  | Am7       # ii of D7#11: Dorian\n6  | D7#11     # V7\u002FV in C: the #11 from the symbol\n7  | EbMaj7    # ♭IIImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n7  | AbMaj7    # ♭VImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n8  | Db9       # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n\nsection: B\n1  | Bm7       # a borrowed minor chord: Dorian, its own key\n1  | GMaj7     # a non-tonic major chord: Lydian\n# area: B minor (B 2)\n2  | F#7       # V7 of B minor: b9 and b13 are in the key\n2  | Bm7       # tonic minor: Dorian by convention\n# area: D major (B 3–4)\n3  | Em7       # ii of the ii–V to D\n3  | A7        # V7 of D: natural tensions\n3  | DMaj7     # tonic: the 4th is in the key\n4  | C7#11     # tritone substitute: resolves down a half step to B7#5\n4  | B7#5      # V7\u002Fii in D: the b13 is in the key, the #11 from the symbol\n# area: C major (B 5–7)\n5  | Em7b5\u002FBb  # iiø7 of A7: Locrian, the key's own notes (its ♭2 is a passing note)\n5  | A7        # V7\u002Fii in C: the b13 is in the key\n5  | F#7       # V7\u002Fvii in C: b9 and b13 are in the key\n6  | Bm7       # ii of E7#11: Dorian\n6  | E7#11     # extended ii–V: a side-step, its own key; #11 from the symbol\n7  | F#m7      # a borrowed minor chord: Dorian, its own key\n7  | Bm7       # a borrowed minor chord: Dorian, its own key\n7  | Em7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | A7        # extended ii–V: a side-step, its own key\n# area: G major (B 8 – C 3)\n8  | Am7       # ii of the ii–V to G\n8  | D7#11     # V7 of G: the #11 from the symbol\n\nsection: C\n1  | GMaj7     # tonic: the 4th is in the key\n1  | C9        # tritone substitute: resolves down a half step to Bm7\n2  | Bm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | Bb7       # ♭III7 from the parallel minor: Lydian Dominant\n3  | AbMaj7    # ♭IImaj7, borrowed from G Phrygian: Lydian (its ♯11 is in the key)\n# area: C minor (C 3–4)\n3  | Db7       # tritone substitute: resolves down a half step to Cm7\n4  | Cm7       # tonic minor: Dorian by convention\n4  | B7        # VII7 in C minor, not resolving: b9 and #11 are in the key\n# area: C# minor (C 5–6)\n5  | A7        # extended dominant: V7 of D7\n5  | D7        # tritone substitute: resolves down a half step to C#m7\n6  | C#m7      # tonic minor: Dorian by convention\n6  | C7        # tritone substitute: resolves down a half step to F#m9\u002FB\n# area: C major (C 7 – A2 10)\n7  | F#m9\u002FB    # V7sus4 of E7: the b13 is in the key\n8  | E7        # V7 of A minor, the chain's last link: b9 and b13 are in the key\n\nsection: A2\n1  | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n1  | FMaj7     # IV: the #4 is the key’s 7th\n2  | E7        # V7\u002Fvi in C: b9 and b13 are in the key\n2  | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Dm7       # ii of the ii–V to C\n3  | G7        # V7 of C: natural tensions\n3  | CMaj7     # tonic: the 4th is in the key\n4  | Bb7#11    # tritone substitute: resolves down a half step to A7#5\n4  | A7#5      # V7\u002Fii in C: the b13 is in the key, the #11 from the symbol\n5  | Dm7b5\u002FAb  # iiø7 of G7: Locrian, the key's own notes (its ♭2 is a passing note)\n5  | G7        # extended ii–V: a side-step, its own key: b9 and b13 are in the key\n5  | E7        # V7\u002Fvi in C: b9 and b13 are in the key\n6  | Am7       # ii of D7#11: Dorian\n6  | D7#11     # V7\u002FV in C: the #11 from the symbol\n7  | Em7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Dm7       # ii of Gsus: Dorian\n7  | Gsus      # static sus: Mixolydian\n8  | Em7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | FMaj7     # IV: the #4 is the key’s 7th\n8  | BbMaj7    # ♭VIImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n9  | Em7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n9  | EbMaj7    # ♭IIImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n9  | AbMaj7    # ♭VImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n9  | DbMaj7    # ♭IImaj7, borrowed from C Phrygian: Lydian (its ♯11 is in the key)\n10 | CMaj9     # tonic: the 4th is in the key\nalt 10 | CMaj9     # tonic: the 4th is in the key\nalt 10 | Bm7b5     # iiø7 of A minor: Locrian, the key's own notes (its ♭2 is a passing note)\nalt 10 | E7        # V7\u002Fvi in C: b9 and b13 are in the key\n",1793575898916]