[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:theres-a-lull-in-my-life":3},"title: There's A Lull In My Life\ncomposer: Harry Revel\nstyle: Ballad\nkey: F\nform: AABA, 38 bars\n# analysis: 2026-10-31, rules v2; F\n\nsection: A1\n# area: F major (A1 1 – B 1)\n1  | FMaj7   # tonic: the 4th is in the key\n1  | Gm7     # ii: Dorian, the key’s own notes\n1  | Am      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | BbMaj7  # IV: the #4 is the key’s 7th\n2  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | Gm7     # ii: Dorian, the key’s own notes\n3  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | BbMaj7  # IV: the #4 is the key’s 7th\n4  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Gm7     # ii: Dorian, the key’s own notes\n5  | F6      # tonic: the 4th is in the key\n5  | Gm7     # ii: Dorian, the key’s own notes\n5  | Am      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | BbMaj7  # IV: the #4 is the key’s 7th\n6  | Gm7     # ii of the ii–V to F\n6  | C7      # V7 of F: natural tensions\n7  | F6      # tonic: the 4th is in the key\n7  | Dm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | Gm7     # ii of the ii–V to F\n8  | C7      # V7 of F: natural tensions\n9  | F6      # tonic: the 4th is in the key\n9  | Eb7#11  # back door bVII7 to F6: the #11 is in the key\n10 | F6      # tonic: the 4th is in the key\n@ending 1 7 8\n@ending 2 9 10\n\nsection: B\n1  | Ebm7    # ii of Ab7: Dorian\n1  | Ab7     # extended ii–V: a side-step, its own key\n# area: Db major (B 2–5)\n2  | Ebm7    # ii of the ii–V to Db\n2  | Ab7     # V7 of Db: natural tensions\n3  | DbMaj7  # tonic: the 4th is in the key\n3  | Ab7sus  # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n4  | DbMaj7  # tonic: the 4th is in the key\n5  | FMaj7   # a non-tonic major chord: Lydian\n5  | F#dim7  # vii°7 of Gm7: D7♭9 without its root\n# area: F major (B 6 – A2 14)\n6  | Gm7     # ii of C7: Dorian\n6  | C7      # V7\u002FI in F: natural tensions\n7  | F#dim7  # vii°7 of Gm7: D7♭9 without its root\n8  | Gm7     # ii of the ii–V to F\n8  | C7      # V7 of F: natural tensions\n\nsection: A2\n1  | FMaj7   # tonic: the 4th is in the key\n1  | Gm7     # ii: Dorian, the key’s own notes\n1  | Am      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | BbMaj7  # IV: the #4 is the key’s 7th\n2  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | Gm7     # ii: Dorian, the key’s own notes\n3  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | BbMaj7  # IV: the #4 is the key’s 7th\n4  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Gm7     # ii: Dorian, the key’s own notes\n5  | F6      # tonic: the 4th is in the key\n5  | Gm7     # ii: Dorian, the key’s own notes\n5  | Am      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | BbMaj7  # IV: the #4 is the key’s 7th\n6  | Gm7     # ii of C7: Dorian\n6  | C7      # V7\u002FI in F: natural tensions\n7  | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | D7      # extended ii–V: a side-step, its own key\n9  | Abm7    # ii of Db7: Dorian\n10 | Db7     # extended ii–V: a side-step, its own key\n11 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n11 | Ab7     # tritone substitute: resolves down a half step to Gm7\n12 | Gm7     # ii of the ii–V to F\n12 | C7      # V7 of F: natural tensions\n13 | F6      # tonic: the 4th is in the key\n14 | F6\nalt 14 | Gm7     # ii: Dorian, the key’s own notes\nalt 14 | F6      # tonic: the 4th is in the key\nalt 14 | C7      # V7 of F: natural tensions\n",1793575903601]