[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:waltz-new":3},"title: Waltz New\ncomposer: Jim Hall\nstyle: Medium up straight eighths\nkey: Bb\nform: AB, 32 bars\ntime: 3\u002F4\nrecording: Jim Hall & Red Mitchell; Jim Hall\u002FRed Mitchell; Artists House; 1978\n# analysis: 2026-10-19, rules v2; Bb\n# recording: recorded live 1978-01-20\u002F21, Sweet Basil, NYC, a guitar-bass duo, Artists House AH 5; the first recording of it, the composer's own, before Michel Petrucciani's Power of Three (Blue Note, 1987, with Hall) (Wikipedia, Wikipedia \"Jim Hall compositions\"); no official upload found\n# book: Medium-Up Straight 1\u002F8's, quarter = 184. Based on the chords of \"Someday My Prince Will Come\".\n# repeat signs around A–B; last time, B bar 16 goes to the Coda (coda sign at B bar 16).\n\n# bar | chord\n\nsection: A\n# area: Bb major (A 1–13)\n1  | Bb6     # tonic: the 4th is in the key\n2  | D7#5    # III7 in Bb, not resolving: b9 and b13 are in the key, the #11 from the symbol\n3  | EbMaj7  # IV: the #4 is the key’s 7th\n4  | G7#5    # V7\u002Fii in Bb: the b13 is in the key, the #11 from the symbol\n5  | Cm7     # ii: Dorian, the key’s own notes\n6  | G7#5    # V7\u002Fii in Bb: the b13 is in the key, the #11 from the symbol\n7  | Cm7     # ii of F7: Dorian\n8  | F7      # V7\u002FI in Bb: natural tensions\n9  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | C#dim7  # passing diminished: C7♭9 without its C, the F7's dominant (Cm7 its ii)\n11 | Cm7     # ii of F7: Dorian\n12 | F7      # V7\u002FI in Bb: natural tensions\n13 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n# area: Cb major (A 14–15)\n14 | Dbm7    # ii of the ii–V to Cb\n14 | Gb7     # V7 of Cb: natural tensions\n15 | CbMaj7  # tonic: the 4th is in the key\n# area: Bb major (A 16 – Coda 11)\n16 | Cm7     # ii of the ii–V to Bb\n16 | F7      # V7 of Bb: natural tensions\n\nsection: B\n1  | Bb6     # tonic: the 4th is in the key\n2  | D7#5    # III7 in Bb, not resolving: b9 and b13 are in the key, the #11 from the symbol\n3  | EbMaj7  # IV: the #4 is the key’s 7th\n4  | G7#5    # V7\u002Fii in Bb: the b13 is in the key, the #11 from the symbol\n5  | Cm7     # ii: Dorian, the key’s own notes\n6  | G7#5    # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n7  | C7      # V7 of V7: the dominant of the dominant: natural tensions\n8  | F7      # V7 in Bb, not resolving: natural tensions\n9  | Fm9     # ii of the ii–V to Eb\n10 | Bb13    # V7\u002FIV in Bb: natural tensions\n11 | EbMaj7  # the Bb13 before it makes Eb the key of the moment: the 4th is in the key\n12 | A7      # V7\u002Fiii in Bb: b9 and b13 are in the key\n13 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n13 | G7      # V7\u002Fii in Bb: the b13 is in the key\n14 | Cm7     # ii of the ii–V to Bb\n14 | F7      # V7 of Bb: natural tensions\n15 | BbMaj7  # tonic: the 4th is in the key\n@coda 16\n16 | Cm7     # ii of the ii–V to Bb\n16 | F7      # V7 of Bb: natural tensions\n\nsection: Coda\nbars: 12\n@coda 1\n1  | Bb      # tonic: the 4th is in the key\n# Coda bar 2 on: slower\n2  | Eb      # IV: the #4 is the key’s 7th\n3  | Bb\u002FD    # tonic: the 4th is in the key\n4  | Cm7     # ii: Dorian, the key’s own notes\n# book: Cm7(omit5)\n5  | Bbsus   # static sus: Mixolydian\n5  | Bb      # tonic: the 4th is in the key\n6  | D7      # III7 in Bb, not resolving: b9 and b13 are in the key\n7  | Eb6     # IV: the #4 is the key’s 7th\n8  | Em7b5   # #ivø7 in Bb: Locrian, its own mode (the chord is outside the key)\n9  | Fsus    # static sus: Mixolydian\n10 | F       # V without its 7th: Mixolydian, the key’s own notes\n11 | Bb      # tonic: the 4th is in the key\n",1793484804443]