[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:two-for-the-road":3},"title: Two For The Road\ncomposer: Henry Mancini\nstyle: Ballad\nkey: G\nform: ABAD, 32 bars\n# analysis: 2026-10-31, rules v2; G\n\nsection: A1\n# area: G major (A1 1 – B 1)\n1 | F#m7b5   # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | B7b9     # V7\u002Fvi in G: b9 and b13 are in the key\n3 | Em7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Em7\u002FD    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | CMaj7    # IV: the #4 is the key’s 7th\n4 | CMaj7\u002FB  # from the symbol: sus b9\n5 | Am7      # ii of D7sus: Dorian\n6 | D7sus    # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6 | D7b9     # V7 in G, not resolving: the b9 from the symbol\n7 | Cdim7\u002FG  # passing diminished: D7♭9 without its D, the GMaj7's dominant; not functioning diatonically: the symmetric scale\n7 | GMaj7    # tonic: the 4th is in the key\n8 | F#m7     # ii of the ii–V to E minor\n8 | B7b9     # V7\u002Fvi in G: b9 and b13 are in the key\n\nsection: B\n1 | Em7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n1 | B7b13    # V7\u002Fvi in G: b9 and b13 are in the key\n# area: D minor (B 2–5)\n2 | Em7      # ii of the ii–V to D minor\n2 | A7b9     # V7 of D minor: b9 and b13 are in the key\n3 | Dm7      # tonic minor: Dorian by convention\n3 | A7b13    # V7 of D minor: b9 and b13 are in the key\n4 | Dm7      # ii of G7b9: Dorian\n4 | G7b9     # V7\u002FbVII in D minor: the b9 from the symbol\n5 | Em7b5    # iiø7 of A7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n5 | A7b9     # V7 of D minor: b9 and b13 are in the key\n# area: C major (B 6 – D 5)\n6 | Dm7b5    # iiø7 of C: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | G7b9     # V7 of C: the b9 from the symbol\n7 | CMaj7    # tonic: the 4th is in the key\n7 | CMaj7\u002FB  # from the symbol: sus b9\n8 | Am7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8 | Am7\u002FG    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n\nsection: A2\n1 | F#m7b5   # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | B7b9     # V7\u002Fiii in C: b9 and b13 are in the key\n3 | Em7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3 | Em7\u002FD    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | CMaj7    # tonic: the 4th is in the key\n4 | CMaj7\u002FB  # from the symbol: sus b9\n5 | Am7      # ii of D7sus: Dorian\n6 | D7sus    # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6 | D7b9     # II7 in C, not resolving: the b9 from the symbol\n7 | Cdim7\u002FG  # passing diminished: D7♭9 without its D, the GMaj7's dominant; not functioning diatonically: the symmetric scale\n7 | GMaj7    # a non-tonic major chord: Lydian\n8 | G7\u002FF     # V7 in C, not resolving: natural tensions\n\nsection: D\n1 | Em7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n1 | Em7\u002FD    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | C#m7b5   # biiø7 in C: Locrian, its own mode (the chord is outside the key)\n2 | Cm6      # a minor sixth chord: Dorian\n3 | Bm7      # a borrowed minor chord: Dorian, its own key\n3 | Em7\u002FD    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | CMaj7    # tonic: the 4th is in the key\n5 | Bm7      # a borrowed minor chord: Dorian, its own key\n5 | Bb7      # tritone substitute: resolves down a half step to Am7\n# area: G major (D 6–8)\n6 | Am7      # ii of the ii–V to G\n6 | D13b9    # V7 of G: the b9 from the symbol\n7 | G6       # tonic: the 4th is in the key\n8 | Dm7      # ii of G7: Dorian\n8 | G7       # V7\u002FIV in G: natural tensions\n",1793575904518]