[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:surrey-with-the-fringe-on-the-top":3},"title: Surrey With The Fringe On The Top\ncomposer: Richard Rodgers\nstyle: Medium Swing\nkey: Bb\nform: AABAC, 40 bars\n# analysis: 2026-10-31, rules v2; Bb\n\nsection: A1\n# area: Bb major (A1 1 – B 4)\n1 | BbMaj7  # tonic: the 4th is in the key\n1 | Bdim7   # vii°7 of Cm7: G7♭9 without its root\n2 | Cm7     # ii of the ii–V to Bb\n2 | F7      # V7 of Bb: natural tensions\n3 | BbMaj7  # tonic: the 4th is in the key\n3 | Bdim7   # vii°7 of Cm7: G7♭9 without its root\n4 | Cm7     # ii of the ii–V to Bb\n4 | F7      # V7 of Bb: natural tensions\n5 | BbMaj7  # tonic: the 4th is in the key\n5 | Bdim7   # passing diminished: E7♭9 without its E, the Am7b5's dominant; not functioning diatonically: the symmetric scale\n6 | Am7b5   # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | D7      # V7\u002Fvi in Bb: b9 and b13 are in the key\n7 | Gm7     # ii of C7: Dorian\n7 | C7      # V7\u002FV in Bb: natural tensions\n8 | Cm7     # ii of the ii–V to Bb\n8 | F7      # V7 of Bb: natural tensions\n\nsection: A2\ncopy: A1\n\nsection: B\n1 | Fm7     # ii of the ii–V to Eb\n1 | Bb7     # V7\u002FIV in Bb: natural tensions\n2 | Eb6     # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n2 | C7      # V7\u002Fv in Bb: natural tensions\n3 | Fm7     # ii of the ii–V to Eb\n3 | Bb7     # V7\u002FIV in Bb: natural tensions\n4 | Eb6     # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n# area: F major (B 5–7)\n5 | Gm7     # ii of the ii–V to F\n5 | C7      # V7 of F: natural tensions\n6 | F6      # tonic: the 4th is in the key\n6 | D7      # V7\u002Fii in F: the b13 is in the key\n7 | Gm7     # ii of C7: Dorian\n7 | C7      # V7\u002FI in F: natural tensions\n# area: Bb major (B 8 – C 8)\n8 | Cm7     # ii of the ii–V to Bb\n8 | F7      # V7 of Bb: natural tensions\n\nsection: A3\n1 | BbMaj7  # tonic: the 4th is in the key\n1 | Bdim7   # vii°7 of Cm7: G7♭9 without its root\n2 | Cm7     # ii of the ii–V to Bb\n2 | F7      # V7 of Bb: natural tensions\n3 | BbMaj7  # tonic: the 4th is in the key\n3 | Bdim7   # vii°7 of Cm7: G7♭9 without its root\n4 | Cm7     # ii of the ii–V to Bb\n4 | F7      # V7 of Bb: natural tensions\n5 | BbMaj7  # tonic: the 4th is in the key\n5 | Bdim7   # passing diminished: E7♭9 without its E, the Am7b5's dominant; not functioning diatonically: the symmetric scale\n6 | Am7b5   # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | D7      # V7\u002Fvi in Bb: b9 and b13 are in the key\n7 | Gm7     # ii of C7: Dorian\n7 | C7      # V7\u002FV in Bb: natural tensions\n8 | Cm7     # ii of F7: Dorian\n8 | F7      # V7\u002FI in Bb: natural tensions\n\nsection: C\n1 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n1 | G7      # V7\u002Fii in Bb: the b13 is in the key\n2 | Cm7     # ii of F7: Dorian\n2 | F7      # V7\u002FI in Bb: natural tensions\n3 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3 | G7      # V7\u002Fii in Bb: the b13 is in the key\n4 | Cm7     # ii of F7: Dorian\n4 | F7      # V7\u002FI in Bb: natural tensions\n5 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5 | G7      # V7\u002Fii in Bb: the b13 is in the key\n6 | Cm7     # ii of the ii–V to Bb\n6 | F7      # V7 of Bb: natural tensions\n7 | Bb6     # tonic: the 4th is in the key\n8 | Bb6\n",1793575901865]