[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:the-blue-room":3},"title: The Blue Room\ncomposer: Richard Rodgers\nstyle: Medium Swing\nkey: F\nform: AABC, 32 bars\n# analysis: 2026-10-31, rules v2; F\n\nsection: A\n1  | F6      # tonic: the 4th is in the key\n1  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | Gm7     # ii of C7: Dorian\n2  | C7      # V7\u002FI in F: natural tensions\n3  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Gm7     # ii of C7: Dorian\n4  | C7      # V7\u002FI in F: natural tensions\n5  | Cm7     # ii of the ii–V to Bb\n5  | F7      # V7\u002FIV in F: natural tensions\n6  | BbMaj7  # the F7 before it makes Bb the key of the moment: the 4th is in the key\n6  | Eb7     # tritone substitute: resolves down a half step to Dm7\n7  | Dm7     # ii of G7: Dorian\n7  | G7      # V7\u002FV in F: natural tensions\n8  | Gm7     # ii of the ii–V to F\n8  | C7      # V7 of F: natural tensions\n9  | F6\u002FA    # tonic: the 4th is in the key\n9  | Abdim   # passing diminished: G7♭9 without its G, the C7's dominant (Gm7 its ii)\n9  | Gm7     # ii of the ii–V to F\n9  | C7      # V7 of F: natural tensions\n10 | F6      # tonic: the 4th is in the key\n@ending 1 7 8\n@ending 2 9 10\n\nsection: B\n1  | Gm7     # ii of the ii–V to F\n2  | C7      # V7 of F: natural tensions\n3  | F6      # tonic: the 4th is in the key\n3  | Bb7#11  # tritone substitute: resolves down a half step to Am7\n4  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Abdim7  # passing diminished: a rootless dominant ♭9\n5  | Gm7     # ii: Dorian, the key’s own notes\n5  | Gm7\u002FF   # ii: Dorian, the key’s own notes\n6  | Em7b5   # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | A7#9    # V7\u002Fvi in F: the b13 is in the key, b9, #9 and #11 from the symbol\n7  | Dm7     # ii of G7: Dorian\n7  | G7      # V7\u002FV in F: natural tensions\n8  | Gm7     # ii of the ii–V to F\n8  | C7      # V7 of F: natural tensions\n\nsection: C\n1  | F6      # tonic: the 4th is in the key\n1  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | Gm7     # ii of C7: Dorian\n2  | C7      # V7\u002FI in F: natural tensions\n3  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Gm7     # ii of C7: Dorian\n4  | C7      # V7\u002FI in F: natural tensions\n5  | Cm7     # ii of the ii–V to Bb\n5  | F7      # V7\u002FIV in F: natural tensions\n6  | BbMaj7  # the F7 before it makes Bb the key of the moment: the 4th is in the key\n6  | Eb7     # back door bVII7 to F6\u002FA: the #11 is in the key\n7  | F6\u002FA    # tonic: the 4th is in the key\n7  | Abdim   # passing diminished: G7♭9 without its G, the C7's dominant (Gm7 its ii)\n7  | Gm7     # ii of the ii–V to F\n7  | C7      # V7 of F: natural tensions\n8  | F6      # tonic: the 4th is in the key\n8  | C7      # V7 of F: natural tensions\n",1793575902478]