[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:you-took-advantage-of-me":3},"title: You Took Advantage Of Me\ncomposer: Richard Rodgers\nstyle: Medium Swing\nkey: Eb\nform: AABA, 32 bars\n# analysis: 2026-10-31, rules v2; Eb\n\nsection: A1\n1 | Eb6     # tonic: the 4th is in the key\n1 | Edim7   # vii°7 of Fm7: C7♭9 without its root\n2 | Fm7     # ii of Bb7: Dorian\n2 | Bb7     # V7\u002FI in Eb: natural tensions\n3 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3 | Gbdim7  # passing diminished: F7♭9 without its F, the Bb7's dominant (Fm7 its ii)\n4 | Fm7     # ii of Bb7: Dorian\n4 | Bb7     # V7\u002FI in Eb: natural tensions\n5 | Bbm7    # ii of the ii–V to Ab\n5 | Eb7     # V7\u002FIV in Eb: natural tensions\n6 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n6 | Db7     # ♭VII7 from the parallel minor: Lydian Dominant\n7 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | C7      # V7\u002Fii in Eb: the b13 is in the key\n7 | Fm7     # ii of the ii–V to Eb\n7 | Bb7     # V7 of Eb: natural tensions\n8 | Eb6     # tonic: the 4th is in the key\n8 | Fm7     # ii of the ii–V to Eb\n8 | Bb7     # V7 of Eb: natural tensions\n9 | Eb6     # tonic: the 4th is in the key\n9 | G7b9    # V7\u002Fvi in Eb: b9 and b13 are in the key\n@ending 1 8\n@ending 2 9\n\nsection: B\n1 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n1 | D7      # extended dominant: each one falls a fifth into the next: natural tensions\n2 | G7      # extended dominant: each one falls a fifth into the next: natural tensions\n2 | C7      # extended dominant: each one falls a fifth into the next: natural tensions\n3 | F7      # V7 of V7: the dominant of the dominant: natural tensions\n3 | Bb7     # V7 of Eb: natural tensions\n4 | EbMaj7  # tonic: the 4th is in the key\n4 | G7b9    # V7\u002Fvi in Eb: b9 and b13 are in the key\n5 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | D7      # extended dominant: each one falls a fifth into the next: natural tensions\n6 | G7      # extended dominant: each one falls a fifth into the next: natural tensions\n6 | C7      # extended dominant: each one falls a fifth into the next: natural tensions\n7 | F7      # V7 of V7: the dominant of the dominant: natural tensions\n7 | Bb7     # V7 of Eb: natural tensions\n8 | Eb6     # tonic: the 4th is in the key\n8 | Fm7     # ii of the ii–V to Eb\n8 | Bb7     # V7 of Eb: natural tensions\n\nsection: A2\n1 | Eb6     # tonic: the 4th is in the key\n1 | Edim7   # vii°7 of Fm7: C7♭9 without its root\n2 | Fm7     # ii of Bb7: Dorian\n2 | Bb7     # V7\u002FI in Eb: natural tensions\n3 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3 | Gbdim7  # passing diminished: F7♭9 without its F, the Bb7's dominant (Fm7 its ii)\n4 | Fm7     # ii of Bb7: Dorian\n4 | Bb7     # V7\u002FI in Eb: natural tensions\n5 | Bbm7    # ii of the ii–V to Ab\n5 | Eb7     # V7\u002FIV in Eb: natural tensions\n6 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n6 | Db7     # ♭VII7 from the parallel minor: Lydian Dominant\n7 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | C7      # V7\u002Fii in Eb: the b13 is in the key\n7 | Fm7     # ii of the ii–V to Eb\n7 | Bb7     # V7 of Eb: natural tensions\n8 | Eb6     # tonic: the 4th is in the key\n8 | Fm7     # ii of the ii–V to Eb\n8 | Bb7     # V7 of Eb: natural tensions\n",1793575906152]