[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:that-old-black-magic":3},"title: That Old Black Magic\ncomposer: Harold Arlen\nstyle: Medium Swing\nkey: Eb\nform: ABCD, 72 bars\n# analysis: 2026-10-31, rules v2; Eb\n\nsection: A\n1  | EbMaj7  # tonic: the 4th is in the key\n2  | EbMaj7\n3  | EbMaj7\n4  | EbMaj7\n5  | EbMaj7\n6  | EbMaj7\n7  | Fm7     # ii of Bb7: Dorian\n8  | Bb7     # V7\u002FI in Eb: natural tensions\n9  | Fm7     # ii of Bb7: Dorian\n10 | Bb7     # V7\u002FI in Eb: natural tensions\n11 | Fm7     # ii of Bb7: Dorian\n12 | Bb7     # V7\u002FI in Eb: natural tensions\n13 | Fm7     # ii of Bb7: Dorian\n14 | Bb7     # V7\u002FI in Eb: natural tensions\n15 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n15 | C7      # V7\u002Fii in Eb: the b13 is in the key\n16 | Fm7     # ii of the ii–V to Eb\n16 | Bb7     # V7 of Eb: natural tensions\n\nsection: B\n1  | EbMaj7  # tonic: the 4th is in the key\n2  | EbMaj7\n3  | EbMaj7\n4  | EbMaj7\n5  | EbMaj7\n6  | EbMaj7\n7  | Db7     # ♭VII7 from the parallel minor: Lydian Dominant\n8  | Db7\n9  | Fm7     # ii of Bb7: Dorian\n10 | Bb7     # V7\u002FI in Eb: natural tensions\n11 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | Gbdim7  # passing diminished: F7♭9 without its F, the Bb7's dominant (Fm7 its ii)\n13 | Fm7     # ii of the ii–V to Eb\n14 | Bb7     # V7 of Eb: natural tensions\n15 | Eb6     # tonic: the 4th is in the key\n16 | Dm7b5   # iiø7 of C minor: Locrian, the key's own notes (its ♭2 is a passing note)\n16 | G7      # V7\u002Fvi in Eb: b9 and b13 are in the key\n\nsection: C\n1  | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | Cm7\n3  | Ab7#11  # tritone substitute: resolves down a half step to G7\n4  | Ab7#11\n5  | G7      # V7 of C7, on the way to F minor: b9 and b13 are in the key\n6  | G7\n7  | C7      # V7 of F minor, the chain's last link: b9 and b13 are in the key\n8  | C7\n9  | Fm7     # ii: Dorian, the key’s own notes\n10 | Fm7\n11 | Abm7    # ii of Db7: Dorian\n12 | Db7     # extended ii–V: a side-step, its own key\n13 | Abm7    # ii of Db7: Dorian\n14 | Db7     # extended ii–V: a side-step, its own key\n15 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n15 | C7      # V7\u002Fii in Eb: the b13 is in the key\n16 | Fm7     # ii of the ii–V to Eb\n16 | Bb7     # V7 of Eb: natural tensions\n\nsection: D\n1  | EbMaj7  # tonic: the 4th is in the key\n2  | EbMaj7\n3  | EbMaj7\n4  | EbMaj7\n5  | Bbm7    # ii of Eb7: Dorian\n6  | Eb7     # V7\u002FIV in Eb: natural tensions\n7  | Bbm7    # ii of the ii–V to Ab\n8  | Eb7     # V7\u002FIV in Eb: natural tensions\n9  | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n10 | AbMaj7\n11 | Db7     # ♭VII7 from the parallel minor: Lydian Dominant\n12 | Db7\n13 | Fm7     # ii of Bb7: Dorian\n14 | Bb7     # V7\u002FI in Eb: natural tensions\n15 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n16 | Gbdim7  # passing diminished: a rootless dominant ♭9\n17 | Fm7     # ii: Dorian, the key’s own notes\n18 | Fm7\n19 | Abm7    # ii of Db7: Dorian\n20 | Db7     # extended ii–V: a side-step, its own key\n21 | Fm7     # ii of the ii–V to Eb\n22 | Bb7sus  # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n23 | Eb6     # tonic: the 4th is in the key\n24 | Fm7     # ii of the ii–V to Eb\n24 | Bb7     # V7 of Eb: natural tensions\n",1793575902284]