[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:spring-can-really-hang-you-up-the-most":3},"title: Spring Can Really Hang You Up The Most\ncomposer: Tommy Wolf\nstyle: Ballad\nkey: C\nform: AABC, 33 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A\n# area: C major (A 1 – B 6)\n1  | CMaj7   # tonic: the 4th is in the key\n1  | BbMaj7  # ♭VIImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n2  | CMaj7   # tonic: the 4th is in the key\n2  | BbMaj7  # ♭VIImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n3  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Dm7     # ii of G7: Dorian\n3  | G7      # V7\u002FI in C: natural tensions\n4  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | A7b13   # extended ii–V: a side-step, its own key; b13 from the symbol\n5  | F#m7b5  # #ivø7 in C: Locrian, its own mode (the chord is outside the key)\n5  | Fm6     # a minor sixth chord: Dorian\n6  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | A7      # extended dominant: V7 of D7\n6  | D7      # II7 in C, not resolving: natural tensions\n7  | Dm7     # ii of the ii–V to C\n7  | G7      # V7 of C: natural tensions\n8  | CMaj7   # tonic: the 4th is in the key\n8  | BbMaj7  # ♭VIImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n9  | CMaj7   # tonic: the 4th is in the key\n@ending 1 8\n@ending 2 9\n\nsection: B\n1  | Gm7     # a borrowed minor chord: Dorian, its own key\n1  | CMaj7   # tonic: the 4th is in the key\n2  | Gm7     # a borrowed minor chord: Dorian, its own key\n2  | CMaj7   # tonic: the 4th is in the key\n3  | Gm7     # a borrowed minor chord: Dorian, its own key\n3  | CMaj7   # tonic: the 4th is in the key\n4  | Gm7     # a borrowed minor chord: Dorian, its own key\n4  | CMaj7   # tonic: the 4th is in the key\n5  | Cm7     # a borrowed minor chord: Dorian, its own key\n5  | FMaj7   # IV: the #4 is the key’s 7th\n6  | Cm7     # a borrowed minor chord: Dorian, its own key\n6  | FMaj7   # IV: the #4 is the key’s 7th\n# area: E major (B 7)\n7  | F#m7    # ii of the ii–V to E\n7  | B7      # V7 of E: natural tensions\n7  | EMaj7   # tonic: the 4th is in the key\n# area: G major (B 8 – C 6)\n8  | Am7     # ii of the ii–V to G\n8  | D7      # V7 of G: natural tensions\n\nsection: C\n1  | GMaj7   # tonic: the 4th is in the key\n1  | FMaj7   # ♭VIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n2  | CMaj7   # IV: the #4 is the key’s 7th\n2  | BbMaj7  # ♭IIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n3  | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Am7     # ii: Dorian, the key’s own notes\n3  | Dm7     # ii of G7: Dorian\n3  | G7      # V7\u002FIV in G: natural tensions\n4  | Em7     # ii of A7b13: Dorian\n4  | A7b13   # V7\u002FV in G: the b13 from the symbol\n5  | F#m7b5  # viiø7 in G: Locrian, the key's own notes (its ♭2 is a passing note)\n5  | Fm6     # a minor sixth chord: Dorian\n6  | Em7     # ii of A7: Dorian\n6  | A7      # V7 of V7: the dominant of the dominant: natural tensions\n6  | D7      # V7 in G, not resolving: natural tensions\n# area: C major (C 7 – Coda 12)\n7  | Dm7     # ii of the ii–V to C\n7  | G7      # V7 of C: natural tensions\n8  | CMaj7   # tonic: the 4th is in the key\n8  | BbMaj7  # ♭VIImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n9  | CMaj7   # tonic: the 4th is in the key\n9  | G7      # V7 of C: natural tensions\n@coda 5\n\nsection: Coda\n1  | G7      # V7 in C, not resolving: natural tensions\n2  | Ebm7    # ii of Ab7: Dorian\n2  | Ab7     # extended ii–V: a side-step, its own key\n3  | Dm7     # ii of G7: Dorian\n3  | G7      # V7\u002FI in C: natural tensions\n4  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | A7      # V7\u002Fii in C: the b13 is in the key\n5  | Dm7     # ii: Dorian, the key’s own notes\n5  | CMaj7   # tonic: the 4th is in the key\n6  | Dm7     # ii: Dorian, the key’s own notes\n6  | CMaj7   # tonic: the 4th is in the key\n7  | Bm7b5   # iiø7 of A minor: Locrian, the key's own notes (its ♭2 is a passing note)\n7  | E7      # V7\u002Fvi in C: b9 and b13 are in the key\n7  | Am7     # ii of D7: Dorian\n8  | D7      # V7\u002FV in C: natural tensions\n9  | Dm7     # ii: Dorian, the key’s own notes\n9  | Bb7     # ♭VII7 from the parallel minor: Lydian Dominant\n10 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | A7      # V7\u002Fii in C: the b13 is in the key\n11 | Dm7     # ii: Dorian, the key’s own notes\n11 | DbMaj7  # ♭IImaj7, borrowed from C Phrygian: Lydian (its ♯11 is in the key)\n12 | CMaj7   # tonic: the 4th is in the key\n@coda 1\n",1793575901277]