[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:the-second-time-around":3},"title: The Second Time Around\ncomposer: Jimmy Van Heusen\nstyle: Medium Swing\nkey: C\nform: AA, 36 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A\n1  | CMaj7     # tonic: the 4th is in the key\nalt 1  | CMaj7     # tonic: the 4th is in the key\nalt 1  | F7        # tritone substitute: resolves down a half step to Em7\n2  | Em7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | Ebdim7    # passing diminished: D7♭9 without its D, the G7's dominant (Dm7 its ii)\n3  | Dm7       # ii of the ii–V to C\n4  | G7        # V7 of C: natural tensions\n5  | CMaj7     # tonic: the 4th is in the key\nalt 5  | CMaj7     # tonic: the 4th is in the key\nalt 5  | FMaj7     # IV: the #4 is the key’s 7th\n6  | C6        # tonic: the 4th is in the key\nalt 6  | Em7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\nalt 6  | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Bm7b5     # iiø7 of A minor: Locrian, the key's own notes (its ♭2 is a passing note)\nalt 7  | Bm7b5     # viiø7 in C: Locrian, the key's own notes (its ♭2 is a passing note)\nalt 7  | F7        # tritone substitute: resolves down a half step to E7b9\n8  | E7b9      # V7\u002Fvi in C: b9 and b13 are in the key\n9  | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\nalt 9  | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\nalt 9  | Ab7       # tritone substitute: resolves down a half step to Gm7\n10 | C7        # V7\u002FIV in C: natural tensions\nalt 10 | Gm7       # ii of the ii–V to F\nalt 10 | C7        # V7\u002FIV in C: natural tensions\n11 | FMaj7     # the C7 before it makes F the key of the moment: the 4th is in the key\n12 | FMaj7\n13 | Am7       # ii of D7: Dorian\n14 | D7        # V7\u002FV in C: natural tensions\n15 | Dm7       # ii of G7: Dorian\n16 | G7        # V7\u002FI in C: natural tensions\n17 | FMaj7     # IV: the #4 is the key’s 7th\nalt 17 | FMaj7     # IV: the #4 is the key’s 7th\nalt 17 | Eb7       # tritone substitute: resolves down a half step to D7\n18 | D7        # II7 in C, not resolving: natural tensions\nalt 18 | D7        # II7 in C, not resolving: natural tensions\nalt 18 | Ebdim7    # passing diminished: D7♭9 without its D, the G7's dominant (Dm7 its ii)\n19 | Dm7       # ii of G7: Dorian\n20 | G7        # V7\u002FI in C: natural tensions\n21 | Em7b5     # iiø7 of A7: Locrian, the key's own notes (its ♭2 is a passing note)\nalt 21 | Em7b5     # iiiø7 in C: Locrian, its own mode (the chord is outside the key)\nalt 21 | Bb7       # tritone substitute: resolves down a half step to A7\n22 | A7        # extended dominant: V7 of D7sus\n23 | D7sus     # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n23 | D7        # extended dominant: V7 of G7sus\n24 | G7sus     # static sus: Mixolydian\n24 | G7sus4b9  # from the symbol: sus b9\n25 | C6        # tonic: the 4th is in the key\n26 | Dm7       # ii of the ii–V to C\n26 | G7        # V7 of C: natural tensions\n@ending 1 11 16\n@ending 2 17 26\n",1793575903270]