[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:when-the-sun-comes-out":3},"title: When The Sun Comes Out\ncomposer: Harold Arlen\nstyle: Ballad\nkey: G\nform: AABAC, 38 bars\n# analysis: 2026-10-31, rules v2; G\n\nsection: A1\n1 | C7      # IV7 in G, not resolving: the #11 is in the key\n1 | Bb7     # tritone substitute: resolves down a half step to Am7\n2 | Am7     # ii of D7: Dorian\n2 | D7      # V7\u002FI in G: natural tensions\n3 | C7      # IV7 in G, not resolving: the #11 is in the key\n3 | C#dim7  # passing diminished: A7♭9 without its A, the D7sus's dominant; not functioning diatonically: the symmetric scale\n4 | D7sus   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4 | D7      # V7 in G, not resolving: natural tensions\n5 | Dm7     # ii of the ii–V to C\n5 | G7      # V7\u002FIV in G: natural tensions\n6 | CMaj7   # the G7 before it makes C the key of the moment: the 4th is in the key\n6 | F7      # ♭VII7 from the parallel minor: Lydian Dominant\n7 | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | E7      # V7\u002Fii in G: the b13 is in the key\n8 | Am7     # ii of D7: Dorian\n8 | D7      # V7\u002FI in G: natural tensions\n\nsection: A2\ncopy: A1\n\nsection: B\n1 | GMaj7   # tonic: the 4th is in the key\n1 | C7#11   # tritone substitute: resolves down a half step to Bm7\n2 | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Dm7     # a borrowed minor chord: Dorian, its own key\n4 | Bm7b5   # iiø7 of A minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4 | E7b9    # V7\u002Fii in G: the b13 is in the key, the b9 from the symbol\n5 | Am7     # ii of D7: Dorian\n6 | D7      # V7\u002FI in G: natural tensions\n6 | Bm7b5   # iiø7 of A minor: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | E7      # V7\u002Fii in G: the b13 is in the key\n7 | Am7     # ii of D7: Dorian\n7 | D7      # V7\u002FI in G: natural tensions\n8 | Am7     # ii of D7: Dorian\n8 | D7      # V7\u002FI in G: natural tensions\n\nsection: A3\n1 | C7      # IV7 in G, not resolving: the #11 is in the key\n1 | Bb7     # tritone substitute: resolves down a half step to Am7\n2 | Am7     # ii of D7: Dorian\n2 | D7      # V7\u002FI in G: natural tensions\n3 | C7      # IV7 in G, not resolving: the #11 is in the key\n3 | C#dim7  # passing diminished: A7♭9 without its A, the D7sus's dominant; not functioning diatonically: the symmetric scale\n4 | D7sus   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4 | D7      # V7 in G, not resolving: natural tensions\n5 | Dm7     # ii of the ii–V to C\n5 | G7      # V7\u002FIV in G: natural tensions\n6 | CMaj7   # the G7 before it makes C the key of the moment: the 4th is in the key\n6 | F7      # ♭VII7 from the parallel minor: Lydian Dominant\n7 | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | E7      # V7\u002Fii in G: the b13 is in the key\n8 | Am7     # ii of the ii–V to G\n8 | D7      # V7 of G: natural tensions\n\nsection: C\n1 | GMaj7   # tonic: the 4th is in the key\n1 | B7      # V7\u002Fvi in G: b9 and b13 are in the key\n2 | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2 | F7      # ♭VII7 from the parallel minor: Lydian Dominant\n3 | B7      # extended dominant: each one falls a fifth into the next: natural tensions\n3 | E7      # extended dominant: each one falls a fifth into the next: natural tensions\n4 | A7      # V7 of V7: the dominant of the dominant: natural tensions\n4 | D7      # V7 of G: natural tensions\n5 | G6      # tonic: the 4th is in the key\n6 | G6\n",1793575905375]