[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:where-are-you":3},"title: Where Are You?\ncomposer: Jimmy McHugh\nstyle: Ballad\nkey: G\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; G\n\nsection: A1\n1 | GMaj7   # tonic: the 4th is in the key\n1 | C7      # 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 | Bbdim7  # passing diminished: A7♭9 without its A, the D7sus's dominant (Am7 its ii)\n3 | Am7     # ii of the ii–V to G\n3 | D7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n4 | GMaj7   # tonic: the 4th is in the key\n4 | Em7     # ii of A7: Dorian\n5 | A7      # V7\u002FV in G: natural tensions\n5 | Bbdim7  # vii°7 of Bm7: F#7♭9 without its root\n6 | Bm7     # iii: Phrygian, the key's own notes (the ♭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 | B7      # V7 of E7, on the way to A minor: b9 and b13 are in the key\n8 | E7      # V7 of A minor, the chain's last link: b9 and b13 are in the key\n8 | Am7     # ii of the ii–V to G\n8 | D7      # V7 of G: natural tensions\n9 | G6      # tonic: the 4th is in the key\n9 | Dm7     # ii of the ii–V to C\n9 | G7      # V7\u002FIV in G: natural tensions\n@ending 1 8\n@ending 2 9\n\nsection: B\n1 | CMaj7   # the G7 before it makes C the key of the moment: the 4th is in the key\n1 | Am7     # ii: Dorian, the key’s own notes\n2 | F#m7    # ii of the ii–V to E minor\n2 | B7      # 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 | Am7     # ii of the ii–V to G\n3 | D7      # V7 of G: natural tensions\n4 | GMaj7   # tonic: the 4th is in the key\n4 | Dm7     # ii of the ii–V to C\n4 | G7      # V7\u002FIV in G: natural tensions\n5 | CMaj7   # the G7 before it makes C the key of the moment: the 4th is in the key\n5 | Am7     # ii: Dorian, the key’s own notes\n6 | F#m7    # ii of the ii–V to E minor\n6 | B7      # V7\u002Fvi in G: b9 and b13 are in the key\n7 | Em7     # ii of A7: Dorian\n7 | A7      # V7\u002FV in G: natural tensions\n8 | Am7     # ii of the ii–V to G\n8 | D7      # V7 of G: natural tensions\n\nsection: A2\n1 | GMaj7   # tonic: the 4th is in the key\n1 | C7      # 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 | Bbdim7  # passing diminished: A7♭9 without its A, the D7sus's dominant (Am7 its ii)\n3 | Am7     # ii of the ii–V to G\n3 | D7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n4 | GMaj7   # tonic: the 4th is in the key\n4 | Em7     # ii of A7: Dorian\n5 | A7      # V7\u002FV in G: natural tensions\n5 | Bbdim7  # vii°7 of Bm7: F#7♭9 without its root\n6 | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | E7      # V7\u002Fii in G: the b13 is in the key\n7 | Am7     # ii of the ii–V to G\n7 | D7      # V7 of G: natural tensions\n8 | G6      # tonic: the 4th is in the key\n8 | Am7     # ii of the ii–V to G\n8 | D7      # V7 of G: natural tensions\n",1793575905412]