[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:wait-till-you-see-her":3},"title: Wait Till You See Her\ncomposer: Richard Rodgers\nstyle: Medium Swing\nkey: Eb\ntime: 3\u002F4\nform: AABCD, 40 bars\n# analysis: 2026-10-31, rules v2; Eb\n\nsection: A\n# area: Eb major (A 1–11)\n1  | Fm7     # ii of the ii–V to Eb\n2  | Bb7     # V7 of Eb: natural tensions\n3  | EbMaj7  # tonic: the 4th is in the key\n4  | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5  | Fm7     # ii of Bb7: Dorian\n6  | Bb7     # V7\u002FI in Eb: natural tensions\n7  | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | C7      # extended ii–V: a side-step, its own key\n9  | D7b9    # V7\u002Fiii in Eb: b9 and b13 are in the key\n10 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n11 | Gm7\n@ending 1 6 8\n@ending 2 9 11\n\nsection: B\n# area: Bb major (B 1–8)\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\n4  | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5  | Cm7     # ii: Dorian, the key’s own notes\n6  | G7b13   # V7 of the Cm7 before it: the b13 is in the key\n7  | Gm7     # ii of the ii–V to F minor\n8  | C7      # V7\u002Fv in Bb: natural tensions\n\nsection: C\n# area: Eb major (C 1 – D 8)\n1  | Fm7     # ii of the ii–V to Eb\n2  | Bb7     # V7 of Eb: natural tensions\n3  | Eb6     # tonic: the 4th is in the key\n4  | Gm7\u002FD   # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | Cm7\u002FBb  # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Am7b5   # #ivø7 in Eb: Locrian, its own mode (the chord is outside the key)\n8  | Abdim7  # passing diminished: Bb7♭9 without its Bb, the Eb\u002FG's dominant; not functioning diatonically: the symmetric scale\n\nsection: D\n1  | Eb\u002FG    # tonic: the 4th is in the key\n2  | Gbdim7  # passing diminished: F7♭9 without its F, the Bb7\u002FF's dominant\n3  | Bb7\u002FF   # V7 in Eb, not resolving: natural tensions\n4  | Edim7   # vii°7 of Fm7: C7♭9 without its root\n5  | Fm7     # ii of the ii–V to Eb\n6  | Bb7     # V7 of Eb: natural tensions\n7  | Eb6     # tonic: the 4th is in the key\n8  | Eb6\n",1793575904906]