[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:time-after-time":3},"title: Time After Time\ncomposer: Jule Styne\nstyle: Medium\nkey: C\nform: ABCD, 32 bars\nrecording: Chet Baker; Chet Baker Sings; Pacific Jazz; 1954\nyoutube: n9IanvvS6y8\n# analysis: 2026-10-19, rules v2; C\n# recording: recorded 1954-02-15, Capitol Melrose Studios, Los Angeles (Russ Freeman, Carson Smith, Bob Neel), 10\" PJ LP-11, released 1954; songbook standard → the jazz reference reading, over Sinatra's 1947 film introduction; sources: jazzdisco, Wikipedia; video: Blue Note Records channel, \"From Chet Baker Sings on Pacific Jazz\", the same take\n\n# bar | chord | scale\n\nsection: A\n1 | CMaj7   # tonic: the 4th is in the key\n2 | Dm7     # ii of the ii–V to C\n2 | G7      # V7 of C: natural tensions\n3 | CMaj7   # tonic: the 4th is in the key\n4 | Dm7     # ii of the ii–V to C\n4 | G7      # V7 of C: natural tensions\n5 | CMaj7   # tonic: the 4th is in the key\n6 | 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)\n8 | E7alt   # from the symbol: altered\n\nsection: B\n1 | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n1 | Am7\u002FG   # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2 | F#m7b5  # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | B7alt   # from the symbol: altered\n3 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | A7b9    # V7\u002Fii in C: the b13 is in the key, the b9 from the symbol\n5 | Dm7     # ii: Dorian, the key’s own notes\n6 | Em7b5   # iiø7 of A7alt: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | A7alt   # from the symbol: altered\n7 | Ab7#11  # tritone substitute: resolves down a half step to G7\n8 | G7      # V7 of C: natural tensions\n\nsection: C\n1 | CMaj7   # tonic: the 4th is in the key\n2 | Dm7     # ii of the ii–V to C\n2 | G7      # V7 of C: natural tensions\n3 | CMaj7   # tonic: the 4th is in the key\n4 | Dm7     # ii of the ii–V to C\n4 | G7      # V7 of C: natural tensions\n5 | CMaj7   # tonic: the 4th is in the key\n6 | Gm7     # ii of the ii–V to F\n6 | C7      # V7\u002FIV in C: natural tensions\n7 | FMaj7   # the C7 before it makes F the key of the moment: the 4th is in the key\n8 | Bb7     # back door bVII7 to CMaj7: the #11 is in the key\n\nsection: D\nbars: 8\n1 | CMaj7   # tonic: the 4th is in the key\n2 | Gbdim7  # passing diminished: a rootless dominant ♭9; not functioning diatonically: the symmetric scale\n2 | Fm6     # a minor sixth chord: Dorian\n3 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3 | Am7\u002FG   # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | Gbdim7  # passing diminished: a rootless dominant ♭9; not functioning diatonically: the symmetric scale\n4 | Fm7     # a borrowed minor chord: Dorian, its own key\n5 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5 | A7alt   # from the symbol: altered\n6 | Dm7\u002FG   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6 | G7      # V7 of C: natural tensions\n7 | CMaj7   # tonic: the 4th is in the key\n",1793484804092]