[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:you-know-i-care":3},"title: You Know I Care\ncomposer: Duke Pearson\nstyle: Ballad\nkey: C\nform: ABA, 31 bars\n# analysis: 2026-10-31, rules v2; C\n\nsection: A1\n# area: C major (A1 1–5)\n1  | C13\u002FG     # I7 in C, not resolving: natural tensions\nalt 1  | Gm7       # ii of C7: Dorian\nalt 1  | C7        # V7\u002FIV in C: natural tensions\n2  | Ab9sus    # ♭VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2  | Ab7b5     # ♭VI7 from the parallel minor: Lydian Dominant\nalt 2  | Ebm7      # ii of Ab7: Dorian\nalt 2  | Ab7       # tritone substitute: resolves down a half step to Gm7\n3  | C13\u002FG     # I7 in C, not resolving: natural tensions\nalt 3  | Gm7       # ii of C7: Dorian\nalt 3  | C7        # V7\u002FIV in C: natural tensions\n4  | Ab9sus    # ♭VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | Ab7b5     # extended dominant: V7 of Db9sus; #11 from the symbol\nalt 4  | Ebm7      # ii of Ab7: Dorian\nalt 4  | Ab7       # extended ii–V: a side-step, its own key\n5  | Db9sus    # ♭II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Gb major (A1 5–9)\n5  | Db7b9b5   # V7 of Gb: b9 and #11 from the symbol\nalt 5  | Abm7      # ii of the ii–V to Gb\nalt 5  | Db7b9     # V7 of Gb: the b9 from the symbol\n6  | GbMaj7    # tonic: the 4th is in the key\n6  | Ebm7b5    # viø7 in Gb: Locrian, its own mode (the chord is outside the key)\n7  | F\u002FA       # a non-tonic major chord: Lydian\n7  | Bb\u002FAb     # a non-tonic major chord: Lydian\n8  | C\u002FG       # a non-tonic major chord: Lydian\n8  | F#m7b5    # iø7 in Gb: Locrian, its own mode (the chord is outside the key)\n8  | Fm6       # a minor sixth chord: Dorian\n9  | C\u002FE       # a non-tonic major chord: Lydian\n9  | Am7       # a borrowed minor chord: Dorian, its own key\n# area: C major (A1 9 – B 6)\n9  | Dm7       # ii of the ii–V to C\n9  | G7        # V7 of C: natural tensions\n10 | C6        # tonic: the 4th is in the key\n10 | F13       # extended dominant: V7 of Bb7b9\n10 | Bb7b9     # ♭VII7 from the parallel minor: Lydian Dominant; b9 from the symbol\n\nsection: B\n1  | Ab9sus    # static sus: Mixolydian\n1  | A69\u002FAb    # a non-tonic major chord: Lydian\n2  | Db69\u002FAb   # ♭II6, borrowed from C Phrygian: Lydian (its ♯11 is in the key)\n3  | Ab9sus    # ♭VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n3  | Ab13b9    # ♭VI7 from the parallel minor: Lydian Dominant, it returns to I; b9 from the symbol\n4  | C\u002FAb      # tonic: the 4th is in the key\n4  | Db69\u002FAb   # ♭II6, borrowed from C Phrygian: Lydian (its ♯11 is in the key)\n5  | Ab9sus    # static sus: Mixolydian\n5  | A69\u002FAb    # a non-tonic major chord: Lydian\n6  | Db69\u002FAb   # ♭II6, borrowed from C Phrygian: Lydian (its ♯11 is in the key)\n# area: A major (B 6 – A2 5)\n6  | Bm7       # ii of the ii–V to A\n6  | E7        # V7 of A: natural tensions\n7  | AMaj7     # tonic: the 4th is in the key\n8  | Ab9sus    # VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | Ab7b9     # VII7 in A, not resolving: b9 and b13 are in the key\n\nsection: A2\n1  | C13\u002FG     # ♭III7 from the parallel minor: Lydian Dominant\nalt 1  | Gm7       # ii of C7: Dorian\nalt 1  | C7        # V7\u002FIV in C: natural tensions\n2  | Ab9sus    # VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2  | Ab7b5     # VII7 in A, not resolving: 9, #11 and 13 from the symbol\nalt 2  | Ebm7      # ii of Ab7: Dorian\nalt 2  | Ab7       # tritone substitute: resolves down a half step to Gm7\n3  | C13\u002FG     # ♭III7 from the parallel minor: Lydian Dominant\nalt 3  | Gm7       # ii of C7: Dorian\nalt 3  | C7        # V7\u002FIV in C: natural tensions\n4  | Ab9sus    # VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | Ab7b5     # extended dominant: V7 of Db9sus; #11 from the symbol\nalt 4  | Ebm7      # ii of Ab7: Dorian\nalt 4  | Ab7       # extended ii–V: a side-step, its own key\n5  | Db9sus    # III7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Gb major (A2 5–13)\n5  | Db7b9b5   # V7 of Gb: b9 and #11 from the symbol\nalt 5  | Abm7      # ii of the ii–V to Gb\nalt 5  | Db7b9     # V7 of Gb: the b9 from the symbol\n6  | GbMaj7    # tonic: the 4th is in the key\n6  | Ebm7b5    # viø7 in Gb: Locrian, its own mode (the chord is outside the key)\n7  | B7        # tritone substitute: resolves down a half step to Bb7\n7  | Bb7       # tritone substitute: resolves down a half step to A7\n7  | A7        # tritone substitute: resolves down a half step to Ab13\n7  | Ab13      # II7 in Gb, not resolving: natural tensions\n8  | Gm7b5     # biiø7 in Gb: Locrian, its own mode (the chord is outside the key)\n8  | F#m6      # a minor sixth chord: Dorian\n9  | B7        # tritone substitute: resolves down a half step to Bb7\n9  | Bb7       # tritone substitute: resolves down a half step to A7\n9  | A7        # tritone substitute: resolves down a half step to Ab13\n9  | Ab13      # II7 in Gb, not resolving: natural tensions\n10 | Gm7b5     # biiø7 in Gb: Locrian, its own mode (the chord is outside the key)\n10 | F#m6      # a minor sixth chord: Dorian\n11 | B7        # tritone substitute: resolves down a half step to Bb7\n11 | Bb7       # tritone substitute: resolves down a half step to A7\n11 | A7        # tritone substitute: resolves down a half step to Ab13\n11 | Ab13      # II7 in Gb, not resolving: natural tensions\n12 | Ab13\n13 | DMaj7#11  # from the symbol: #11\n@coda 9\n",1793575906081]