[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:ruby-my-dear":3},"title: Ruby, My Dear\ncomposer: Thelonious Monk\nstyle: Ballad\nkey: Eb\nform: AABC, 32 bars\nrecording: Thelonious Monk; Genius of Modern Music; Blue Note; 1951\nyoutube: U-N4w9LVGpw\n# analysis: 2026-10-19, rules v2; Eb\n# recording: recorded 1947-10-24, first issued on 78 (Blue Note 549), LP 1951 (BLP 5002) (Wikipedia, jazzdisco)\n# book: Med. Ballad; melody played with straight eighths; the intro is solo piano\n# book: solo on the form (AABC); after the solos, D.S. al Coda; the coda is played freely\n# book: m7(add 11) chords are written m11 here; (add 9) and (add 11) on major and dominant chords are left off\n\n# bar | chord\n# intro bar 1: the chords come in on the and of 2 and on beat 3\n\nsection: Intro\nbars: 4\n# area: Eb major (Intro 1 – A 2)\n1 | EbMaj7#11#9  # from the symbol: #11\n1 | E9           # back door bVII7 to F#69: #11 and b13 are in the key, the 9 from the symbol\n# book: E9(add 11)\n2 | F#69         # ♭III6, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n2 | B7b9         # tritone substitute: resolves down a half step to Bb7b9; b9 from the symbol\n2 | Bb7b9        # V7 in Eb, not resolving: the b9 from the symbol\n\nsection: A\n1 | Fm7          # ii of the ii–V to Eb\n@segno 1\n1 | Bb7b9        # V7 of Eb: the b9 from the symbol\n2 | EbMaj7       # tonic: the 4th is in the key\n# book: bar 2 then has a piano fill of passing chords on the last five eighths: Fm7 F#m7 Gm7 Ab6 Gb\u002FBb\n# area: F major (A 3–4)\n3 | Gm7          # ii of the ii–V to F\n3 | C7b9         # V7 of F: the b9 from the symbol\n4 | FMaj7        # tonic: the 4th is in the key\n4 | Gm7          # ii: Dorian, the key’s own notes\n4 | Abm7         # a borrowed minor chord: Dorian, its own key\n4 | Am7          # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n# area: Eb major (A 5–9)\n5 | Bbm7         # ii of the ii–V to Ab\n5 | Eb7b9        # V7\u002FIV in Eb: the b9 from the symbol\n6 | AbMaj7       # the Eb7b9 before it makes Ab the key of the moment: the 4th is in the key\n6 | Bbm7         # a borrowed minor chord: Dorian, its own key\n6 | Bm7          # a borrowed minor chord: Dorian, its own key\n6 | Cm7          # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7 | Bbm7(add11)  # a borrowed minor chord: Dorian, its own key\n7 | A(add9)      # a non-tonic major chord: Lydian\n8 | E7sus4       # static sus: Mixolydian\n8 | Bb7b5        # V7 in Eb, not resolving: the #11 from the symbol\n@ending 1 8\n9 | Bm7(add11)   # a borrowed minor chord: Dorian, its own key\n# area: A major (A 9 – B 4)\n9 | Bb7b5        # tritone substitute: resolves down a half step to AMaj7\n@ending 2 9\n\nsection: B\n1 | AMaj7        # tonic: the 4th is in the key\n2 | Bm7          # ii of the ii–V to A\n2 | E7b9         # V7 of A: the b9 from the symbol\n3 | A69          # tonic: the 4th is in the key\n4 | Bb6          # ♭II6, borrowed from A Phrygian: Lydian (its ♯11 is in the key)\n# area: Eb major (B 4 – C 2)\n4 | G7b9\u002FB       # V7\u002Fvi in Eb: b9 and b13 are in the key\n5 | Cm           # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | CmMaj7       # from the symbol: minor-major 7th\n5 | Cm7          # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Cm7\n# book: Cmi7 (add MA7)\n6 | Dm7          # a borrowed minor chord: Dorian, its own key\n7 | Ebm7         # ii of Ab13b5: Dorian\n8 | Ab13b5       # extended ii–V: a side-step, its own key; #11 from the symbol\n8 | Eb           # tonic: the 4th is in the key\n# alt (optional): bar 8 beat 4 (Ab7)\n\nsection: C\nbars: 11\n1 | Fm7          # ii of the ii–V to Eb\n1 | Bb7b9        # V7 of Eb: the b9 from the symbol\n2 | EbMaj7       # tonic: the 4th is in the key\n# book: bar 2 then has a piano fill of passing chords on the last five eighths: Fm7 F#m7 Gm7 Ab6 Gb\u002FBb\n# area: F major (C 3–4)\n3 | Gm7          # ii of the ii–V to F\n3 | C7b9         # V7 of F: the b9 from the symbol\n4 | FMaj7        # tonic: the 4th is in the key\n4 | Gm7          # ii: Dorian, the key’s own notes\n4 | Abm7         # a borrowed minor chord: Dorian, its own key\n4 | Am7          # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n# area: Eb major (C 5 – Coda 3)\n5 | Bbm7         # ii of the ii–V to Ab\n5 | Eb7b9        # V7\u002FIV in Eb: the b9 from the symbol\n6 | AbMaj7       # the Eb7b9 before it makes Ab the key of the moment: the 4th is in the key\n6 | Bbm7         # a borrowed minor chord: Dorian, its own key\n6 | Bm7          # a borrowed minor chord: Dorian, its own key\n6 | Cm7          # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7 | Bbm11        # a borrowed minor chord: Dorian, its own key\n@coda 7\n# book: Bbmi7(add 11)\n7 | E9           # back door bVII7 to F#69: #11 and b13 are in the key, the 9 from the symbol\n# book: E9(add 11)\n8 | F#69         # ♭III6, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n8 | B7b9         # tritone substitute: resolves down a half step to Bb7b9; b9 from the symbol\n8 | Bb7b9        # V7 in Eb, not resolving: the b9 from the symbol\n@nav 8 D.S. al Coda\n\nsection: Coda\n1 | Bbm11        # a borrowed minor chord: Dorian, its own key\n@coda 1\n# book: Bbmi7(add 11)\n1 | E9           # back door bVII7 to F#69: #11 and b13 are in the key, the 9 from the symbol\n# book: E9(add 11)\n2 | F#69         # ♭III6, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n2 | B7b9         # tritone substitute: resolves down a half step to Bb7b9; b9 from the symbol\n2 | Bb7b9        # tritone substitute: resolves down a half step to A7b5; b9 from the symbol\n3 | A7b5         # tritone substitute: resolves down a half step to Ab13b5\n# area: Db major (Coda 3–4)\n3 | Ab13b5       # V7 of Db: the #11 from the symbol\n# coda bar 3: whole-tone fill\n4 | DbMaj9       # tonic: the 4th is in the key\n# coda bar 4: fermata\n",1793484802784]