[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:the-midnight-sun-will-never-set":3},"title: The Midnight Sun Will Never Set\ncomposer: Quincy Jones, Henri Salvador\nstyle: Ballad\nkey: F\nform: AABA, 32 bars\nrecording: Quincy Jones and Harry Arnold; Quincy's Home Again; Metronome; 1958\nyoutube: L0cEi_nDfOw\n# analysis: 2026-10-19, rules v2; F\n# recording: recorded in Stockholm (sessions 1958-02-14, 03-19 and 04-29), Harry Arnold's Swedish Radio Studio Orchestra, Quincy Jones arranger and conductor, as \"The Midnight Sun Never Sets\"; issued in the US as Harry Arnold + Big Band + Quincy Jones = Jazz! (EmArcy MG-36139); Jones's own first recording, over the better-known I Dig Dancers (Mercury, 1961), recorded 1960; sources: Wikipedia, Fresh Sound; video: \"Provided to YouTube by WM Sweden\", Quincy's Home Again, the same take\n# book: Medium Ballad; melody in straight eighths. Letters A (16 bars: two 8-bar A's), B, C (the last A).\n# the book's pickup bar carries C9sus; written as a one-bar Intro\n\n# bar | chord\n\nsection: Intro\nbars: 4\n# area: F major (Intro 1 – A 16)\n1  | C9sus4  # static sus: Mixolydian\n\nsection: A\n1  | FMaj7   # tonic: the 4th is in the key\n1  | Gm7     # ii: Dorian, the key’s own notes\n2  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | D7      # V7\u002Fii in F: the b13 is in the key\n3  | Gm7     # ii: Dorian, the key’s own notes\n3  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | BbMaj7  # IV: the #4 is the key’s 7th\n4  | C7      # V7 in F, not resolving: 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  | Em7b5   # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | A7      # V7\u002Fvi in F: b9 and b13 are in the key\n7  | Dm7     # ii of G7: Dorian\n7  | G7      # extended dominant: V7 of C9sus4\n8  | C9sus4  # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n# bar 8: break\n9  | FMaj7   # tonic: the 4th is in the key\n9  | Gm7     # ii: Dorian, the key’s own notes\n10 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | D7      # V7\u002Fii in F: the b13 is in the key\n11 | Gm7     # ii: Dorian, the key’s own notes\n11 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | BbMaj7  # IV: the #4 is the key’s 7th\n12 | C7      # V7 in F, not resolving: natural tensions\n13 | Cm7     # ii of the ii–V to Bb\n13 | F7      # V7\u002FIV in F: natural tensions\n14 | BbMaj7  # the F7 before it makes Bb the key of the moment: the 4th is in the key\n14 | Em7b5   # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | A7      # V7\u002Fvi in F: b9 and b13 are in the key\n15 | Dm7     # ii of G7: Dorian\n15 | G7      # extended dominant: V7 of C9sus4\n15 | C9sus4  # static sus: Mixolydian\n15 | Gb7     # tritone substitute: resolves down a half step to F6\n16 | F6      # tonic: the 4th is in the key\n\nsection: B\nbars: 8\n# area: Eb major (B 1–6)\n1  | Fm7     # ii of the ii–V to Eb\n2  | Bb7     # V7 of Eb: natural tensions\n3  | EbMaj7  # tonic: the 4th is in the key\n4  | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Ab7     # IV7 in Eb, not resolving: the #11 is in the key\n4  | Am7     # a borrowed minor chord: Dorian, its own key\n# alt: bar 4 (Eb7 A7#9), the book's bracketed alternate changes\n5  | Bbm     # a borrowed minor chord: Dorian, its own key\n5  | Gb\u002FBb   # ♭III, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n6  | Eb7     # I7 in Eb, not resolving: natural tensions\n6  | Db7     # tritone substitute: resolves down a half step to C9sus4\n# area: F major (B 7 – C 8)\n7  | C9sus4  # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n# bar 8: break (C9sus held)\n\nsection: C\n1  | FMaj7   # tonic: the 4th is in the key\n1  | Gm7     # ii: Dorian, the key’s own notes\n2  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | D7      # V7\u002Fii in F: the b13 is in the key\n3  | Gm7     # ii: Dorian, the key’s own notes\n3  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | BbMaj7  # IV: the #4 is the key’s 7th\n4  | C7      # V7 in F, not resolving: 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  | Em7b5   # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | A7      # V7\u002Fvi in F: b9 and b13 are in the key\n7  | Dm7     # ii of G7: Dorian\n7  | G7      # extended dominant: V7 of C9sus4\n7  | C9sus4  # static sus: Mixolydian\n7  | Gb7     # tritone substitute: resolves down a half step to F6\n8  | F6      # tonic: the 4th is in the key\n",1793484803870]