[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:you-are-too-beautiful":3},"title: You Are Too Beautiful\ncomposer: Richard Rodgers\nstyle: Ballad\nkey: C\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A1\n1  | Dm7     # ii of G7: Dorian\n1  | G7      # V7\u002FI in C: natural tensions\n2  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | A7b9    # V7\u002Fii in C: the b13 is in the key, the b9 from the symbol\n3  | Dm7     # ii of the ii–V to C\n3  | G7b9    # V7 of C: the b9 from the symbol\n4  | CMaj7   # tonic: the 4th is in the key\n4  | Gm7     # ii of the ii–V to F\n4  | C7      # V7\u002FIV in C: natural tensions\n5  | FMaj7   # the C7 before it makes F the key of the moment: the 4th is in the key\n5  | Bb7     # back door bVII7 to C6\u002FE: the #11 is in the key\n6  | C6\u002FE    # tonic: the 4th is in the key\n6  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Dm7     # ii of G7: Dorian\n7  | G7      # V7\u002FI in C: natural tensions\n8  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | A7b9    # extended dominant: each one falls a fifth into the next: the b9 from the symbol\n9  | D7      # V7 of V7: the dominant of the dominant: natural tensions\n9  | G7      # V7 of C: natural tensions\n10 | C6      # tonic: the 4th is in the key\n10 | Gm7     # ii of the ii–V to F\n10 | C7      # V7\u002FIV in C: natural tensions\n@ending 1 7 8\n@ending 2 9 10\n\nsection: B\n1  | FMaj7   # the C7 before it makes F the key of the moment: the 4th is in the key\n1  | F#dim7  # ♯IV°7 to I over its 5th: B7♭9 without its root, the ♯II°7's notes\n2  | C6\u002FG    # tonic: the 4th is in the key\n2  | A7b9    # V7\u002Fii in C: the b13 is in the key, the b9 from the symbol\n3  | Dm7     # ii of the ii–V to C\n3  | G7b9    # V7 of C: the b9 from the symbol\n4  | CMaj7   # tonic: the 4th is in the key\n5  | Bm7b5   # iiø7 of A minor: Locrian, the key's own notes (its ♭2 is a passing note)\n5  | E7b9    # V7\u002Fvi in C: b9 and b13 are in the key\n6  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | E7b9    # V7\u002Fvi in C: b9 and b13 are in the key\n7  | Am7     # ii of D7: Dorian\n7  | D7      # V7\u002FV in C: natural tensions\n8  | Dm7     # ii: Dorian, the key’s own notes\n8  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | A7      # V7\u002Fii in C: the b13 is in the key\n\nsection: A2\n1  | Dm7     # ii of G7: Dorian\n1  | G7      # V7\u002FI in C: natural tensions\n2  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | A7b9    # V7\u002Fii in C: the b13 is in the key, the b9 from the symbol\n3  | Dm7     # ii of the ii–V to C\n3  | G7b9    # V7 of C: the b9 from the symbol\n4  | CMaj7   # tonic: the 4th is in the key\n4  | Gm7     # ii of the ii–V to F\n4  | C7      # V7\u002FIV in C: natural tensions\n5  | FMaj7   # the C7 before it makes F the key of the moment: the 4th is in the key\n5  | Bb7     # back door bVII7 to C6\u002FE: the #11 is in the key\n6  | C6\u002FE    # tonic: the 4th is in the key\n6  | Am7     # ii of D7: Dorian\n7  | D7      # V7 of V7: the dominant of the dominant: natural tensions\n7  | G7      # V7 of C: natural tensions\n8  | C6      # tonic: the 4th is in the key\n8  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | A7      # V7\u002Fii in C: the b13 is in the key\n",1793575905903]