[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:when-sunny-gets-blue":3},"title: When Sunny Gets Blue\ncomposer: Marvin Fisher\nstyle: Ballad\nkey: F\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; F\n\nsection: A1\n# area: F major (A1 1–8)\n1 | Gm7      # ii of C7: Dorian\n1 | C7       # V7\u002FI in F: natural tensions\n2 | Bbm7     # ii of Eb7: Dorian\n2 | Eb7      # back door bVII7 to FMaj7: the #11 is in the key\n3 | FMaj7    # tonic: the 4th is in the key\n3 | Gm7      # ii: Dorian, the key’s own notes\n4 | Am7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | D7       # extended ii–V: a side-step, its own key\n5 | Bm7b5    # #ivø7 in F: Locrian, its own mode (the chord is outside the key)\n5 | Bbm7     # ii of Eb7: Dorian\n5 | Eb7      # back door bVII7 to FMaj7\u002FA: the #11 is in the key\n6 | FMaj7\u002FA  # tonic: the 4th is in the key\n6 | Abm7     # ii of Db7: Dorian\n6 | Db7      # extended ii–V: a side-step, its own key\n7 | Gm7      # ii of C7: Dorian\n7 | C7       # V7\u002FI in F: natural tensions\n7 | Bb7      # tritone substitute: resolves down a half step to Am7\n8 | Am7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8 | D7b9     # extended ii–V: a side-step, its own key; b9 from the symbol\n# area: D major (A1 9 – B 4)\n9 | Em7      # ii of the ii–V to D\n9 | A7b9     # V7 of D: the b9 from the symbol\n@ending 1 8\n@ending 2 9\n\nsection: B\n1 | DMaj7    # tonic: the 4th is in the key\n1 | Em7      # ii: Dorian, the key’s own notes\n2 | F#m7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | B7       # V7\u002Fii in D: the b13 is in the key\n3 | Em7      # ii of the ii–V to D\n3 | A7       # V7 of D: natural tensions\n4 | DMaj7    # tonic: the 4th is in the key\n# area: C major (B 5 – A2 6)\n5 | Dm7      # ii of the ii–V to C\n5 | G7       # V7 of C: natural tensions\n6 | CMaj7    # tonic: the 4th is in the key\n6 | Am7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7 | FMaj7    # IV: the #4 is the key’s 7th\n7 | Dm7      # ii of G7: Dorian\n7 | G7       # V7\u002FI in C: natural tensions\n8 | Gm7      # ii of C7: Dorian\n8 | C7       # V7\u002FIV in C: natural tensions\n\nsection: A2\n1 | Gm7      # ii of C7: Dorian\n1 | C7       # V7\u002FIV in C: natural tensions\n2 | Bbm7     # ii of Eb7: Dorian\n2 | Eb7      # back door bVII7 to FMaj7: the #11 is in the key\n3 | FMaj7    # IV: the #4 is the key’s 7th\n3 | Gm7      # a borrowed minor chord: Dorian, its own key\n4 | Am7      # ii of D7: Dorian\n4 | D7       # V7\u002FV in C: natural tensions\n5 | Bm7b5    # viiø7 in C: Locrian, the key's own notes (its ♭2 is a passing note)\n5 | Bbm7     # ii of Eb7: Dorian\n5 | Eb7      # back door bVII7 to FMaj7\u002FA: the #11 is in the key\n6 | FMaj7\u002FA  # IV: the #4 is the key’s 7th\n6 | Abm7     # ii of Db7: Dorian\n6 | Db7      # extended ii–V: a side-step, its own key\n# area: F major (A2 7–8)\n7 | Gm7      # ii of the ii–V to F\n7 | C7       # V7 of F: natural tensions\n8 | FMaj7    # tonic: the 4th is in the key\n",1793575905359]