[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:soultrane":3},"title: Soultrane\ncomposer: Tadd Dameron\nstyle: Ballad\nkey: Eb\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; Eb\n\nsection: A1\n# area: Eb major (A1 1 – B 4)\n1 | EbMaj7  # tonic: the 4th is in the key\n2 | Gm7b5   # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | C7b9    # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n3 | Fm7     # ii: Dorian, the key’s own notes\n4 | Db7     # ♭VII7 from the parallel minor: Lydian Dominant\n5 | Abm7    # ii of Db7: Dorian\n5 | Db7     # extended ii–V: a side-step, its own key\n5 | Ddim    # vii°7 of EbMaj7: Bb7♭9 without its root\n6 | EbMaj7  # tonic: the 4th is in the key\n6 | G7      # extended dominant: each one falls a fifth into the next: natural tensions\n6 | C7      # extended dominant: each one falls a fifth into the next: natural tensions\n7 | F7      # V7 of V7: the dominant of the dominant: natural tensions\n7 | Bb7     # V7 in Eb, not resolving: natural tensions\n8 | Gm      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8 | F#7     # tritone substitute: resolves down a half step to Fm\n8 | Fm      # ii: Dorian, the key’s own notes\n8 | E7      # tritone substitute: resolves down a half step to Eb6\n9 | Eb6     # tonic: the 4th is in the key\n9 | Am7b5   # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n9 | D7      # V7\u002Fiii in Eb: b9 and b13 are in the key\n@ending 1 8\n@ending 2 9\n\nsection: B\n1 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | Am7b5   # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | D7b9    # V7\u002Fiii in Eb: b9 and b13 are in the key\n3 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | C7      # tritone substitute: resolves down a half step to B7#9\n# area: Bb major (B 4–8)\n4 | B7#9    # tritone substitute: resolves down a half step to BbMaj7; b9 and #9 from the symbol\n5 | BbMaj7  # tonic: the 4th is in the key\n5 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Cm7b5   # iiø7 of F7: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | F7      # extended dominant: V7 of Fm7\u002FBb\n7 | Fm7\u002FBb  # static sus: Mixolydian\n7 | Bbdim7  # passing diminished: F#7♭9 without its F#, the B7b5's dominant; not functioning diatonically: the symmetric scale\n8 | B7b5    # tritone substitute: resolves down a half step to Bb7\n8 | Bb7     # I7 in Bb, not resolving: natural tensions\n# area: Eb major (B 8 – A2 8)\n8 | E7      # tritone substitute: resolves down a half step to EbMaj7\n\nsection: A2\n1 | EbMaj7  # tonic: the 4th is in the key\n2 | Gm7b5   # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | C7b9    # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n3 | Fm7     # ii: Dorian, the key’s own notes\n4 | Db7     # ♭VII7 from the parallel minor: Lydian Dominant\n5 | Abm7    # ii of Db7: Dorian\n5 | Db7     # extended ii–V: a side-step, its own key\n5 | Ddim    # vii°7 of EbMaj7: Bb7♭9 without its root\n6 | EbMaj7  # tonic: the 4th is in the key\n6 | G7      # extended dominant: each one falls a fifth into the next: natural tensions\n6 | C7      # extended dominant: each one falls a fifth into the next: natural tensions\n7 | F7      # V7 of V7: the dominant of the dominant: natural tensions\n7 | Bb7     # V7 of Eb: natural tensions\n8 | Eb6     # tonic: the 4th is in the key\n8 | Fm7\u002FBb  # static sus: Mixolydian\n",1793575901162]