[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:the-night-has-a-thousand-eyes":3},"title: The Night Has a Thousand Eyes\nsubtitle: Latin and swing\ncomposer: Jerry Brainin\nstyle: Mixed\nkey: G\nform: ABABCD, 48 bars\nrecording: John Coltrane; Coltrane's Sound; Atlantic; 1964\nyoutube: ioPRCwpB1Ak\n# analysis: 2026-10-19, rules v2; G\n# recording: recorded 1960-10-26, Atlantic Studios, New York, John Coltrane Quartet (McCoy Tyner, Steve Davis, Elvin Jones), matrix 5143, Atlantic LP 1419; songbook standard (1948) → Coltrane's Latin-and-swing reading, the version jazz players know; earlier attempts (1959-12-02, 1960-10-21) were rejected (jazzdisco, Wikipedia); video: \"Provided to YouTube by Rhino Atlantic\", Coltrane's Sound, the same take\n\n# bar | chord | scale\n\nsection: A1\n# area: G major (A1 1 – B2 8)\n1 | GMaj7\u002FD  # tonic: the 4th is in the key\n3 | D7sus4   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n5 | GMaj7\u002FD  # tonic: the 4th is in the key\n7 | D7sus4   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8 | D7       # V7 in G, not resolving: natural tensions\n\nsection: B1\n1 | Dm7      # ii of G7: Dorian\n2 | G7       # V7\u002FIV in G: natural tensions\n3 | C#m7b5   # #ivø7 in G: Locrian, its own mode (the chord is outside the key)\n4 | Cm6      # a minor sixth chord: Dorian\n5 | Bm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5 | Bb7      # tritone substitute: resolves down a half step to Am7\n6 | Am7      # ii of the ii–V to G\n6 | D7       # V7 of G: natural tensions\n7 | GMaj7\u002FD  # tonic: the 4th is in the key\n8 | D7sus4   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n\nsection: A2\ncopy: A1\n\nsection: B2\n1 | Dm7      # ii of G7: Dorian\n2 | G7       # V7\u002FIV in G: natural tensions\n3 | C#m7b5   # #ivø7 in G: Locrian, its own mode (the chord is outside the key)\n4 | Cm6      # a minor sixth chord: Dorian\n5 | Bm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5 | Bb7      # tritone substitute: resolves down a half step to Am7\n6 | Am7      # ii of the ii–V to G\n6 | D7       # V7 of G: natural tensions\n7 | GMaj7\u002FD  # tonic: the 4th is in the key\n8 | GMaj7    # tonic: the 4th is in the key\n8 | Db7      # tritone substitute: resolves down a half step to Cm7\n\nsection: C\nbars: 8\n# area: Bb major (C 1–3)\n1 | Cm7      # ii of the ii–V to Bb\n2 | F7       # V7 of Bb: natural tensions\n3 | BbMaj7   # tonic: the 4th is in the key\n# area: Ab major (C 5–7)\n5 | Bbm7     # ii of the ii–V to Ab\n6 | Eb7      # V7 of Ab: natural tensions\n7 | AbMaj7   # tonic: the 4th is in the key\n\nsection: D\nbars: 8\n# area: G major (D 1–7)\n1 | Am7      # ii of the ii–V to G\n2 | D7sus4   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n3 | GMaj7    # tonic: the 4th is in the key\n4 | Em7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | Am7\u002FD    # static sus: Mixolydian\n6 | D7sus4   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n7 | GMaj7    # tonic: the 4th is in the key\n",1793484803889]