[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:the-man-that-got-away":3},"title: The Man That Got Away\ncomposer: Harold Arlen\nstyle: Slow Swing\nkey: F\nform: AAB, 40 bars\n# analysis: 2026-10-31, rules v2; F\n\nsection: A1\n1  | F6       # tonic: the 4th is in the key\n2  | F6\n3  | Gm7      # ii of C7: Dorian\n3  | C7       # V7\u002FI in F: natural tensions\n4  | Bb7      # IV7 in F, not resolving: the #11 is in the key\n4  | B7       # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n4  | C7       # V7 of F: natural tensions\n5  | F6       # tonic: the 4th is in the key\n6  | A7b13    # V7 of D7b13, on the way to G minor: b9 and b13 are in the key\n7  | D7b13    # V7 of G minor, the chain's last link: b9 and b13 are in the key\n8  | D7b13\n9  | Gm7      # ii of C7: Dorian\n10 | C7       # V7\u002FI in F: natural tensions\n11 | Am7b5    # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n12 | D7b9     # V7\u002Fii in F: the b13 is in the key, the b9 from the symbol\n13 | Gm7      # ii of the ii–V to F\n14 | C7       # V7 of F: natural tensions\n15 | FMaj7    # tonic: the 4th is in the key\n16 | C7       # V7 of F: natural tensions\n\nsection: A2\n1  | F6       # tonic: the 4th is in the key\n2  | F6\n3  | Gm7      # ii of C7: Dorian\n3  | C7       # V7\u002FI in F: natural tensions\n4  | Bb7      # IV7 in F, not resolving: the #11 is in the key\n4  | B7       # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n4  | C7       # V7 of F: natural tensions\n5  | F6       # tonic: the 4th is in the key\n6  | F6\n7  | Am7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | D7       # V7\u002Fii in F: the b13 is in the key\n9  | Gm7      # ii of the ii–V to F\n10 | C7       # V7 of F: natural tensions\n11 | F6       # tonic: the 4th is in the key\n12 | D7b13    # V7\u002Fii in F: the b13 is in the key\n13 | Gm7      # ii of the ii–V to F\n14 | C7sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n15 | F6       # tonic: the 4th is in the key\n16 | F6\n@segno 1\n@coda 8\n\nsection: B\n1  | D7b9b13  # extended dominant: each one falls a fifth into the next: b9 and b13 from the symbol\n2  | D7b9b13\n3  | G7       # V7 of V7: the dominant of the dominant: natural tensions\n4  | C7       # V7 of F: natural tensions\n5  | F6       # tonic: the 4th is in the key\n6  | F6\n7  | Db7      # tritone substitute: resolves down a half step to C7\n8  | C7       # V7 of F: natural tensions\n@nav 8 D.S. al Coda\n\nsection: Coda\n1  | BbMaj7   # IV: the #4 is the key’s 7th\n2  | Bdim7    # ♯IV°7 to I over its 5th: E7♭9 without its root, the ♯II°7's notes\n3  | F6\u002FC     # tonic: the 4th is in the key\n4  | D7b9     # V7\u002Fii in F: the b13 is in the key, the b9 from the symbol\n5  | Gm7      # ii of the ii–V to F\n6  | C7sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n7  | F6       # tonic: the 4th is in the key\n8  | Gm7      # ii of C7: Dorian\n8  | C7       # V7\u002FI in F: natural tensions\n@coda 1\n",1793575902963]