[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:youre-laughing-at-me":3},"title: You're Laughing At Me\ncomposer: Irving Berlin\nstyle: Medium Swing\nkey: Eb\nform: ABAC, 32 bars\n# analysis: 2026-10-31, rules v2; Eb\n\nsection: A1\n# area: Eb major (A1 1–7)\n1 | Eb6        # tonic: the 4th is in the key\n2 | Fm7b5      # iiø7 of Eb: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | Bb7b9      # V7 of Eb: the b9 from the symbol\n3 | EbMaj7     # tonic: the 4th is in the key\n3 | Gm7\u002FD      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | Cm7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | Bdim7      # passing diminished: Bb7♭9 without its Bb, the EbMaj7\u002FBb's dominant\n5 | EbMaj7\u002FBb  # tonic: the 4th is in the key\n6 | Am7b5      # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | D7b9       # V7\u002Fiii in Eb: b9 and b13 are in the key\n7 | Gm7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | Cm7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: Gb major (A1 8 – B 6)\n8 | Abm7       # ii of the ii–V to Gb\n8 | Db7        # V7 of Gb: natural tensions\n\nsection: B\n1 | GbMaj7     # tonic: the 4th is in the key\n2 | Db7sus     # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2 | Db9        # V7 of Gb: natural tensions\n3 | GbMaj7\u002FDb  # tonic: the 4th is in the key\n4 | Db7sus     # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4 | Db7        # V7 in Gb, not resolving: natural tensions\n5 | BbMaj7\u002FF   # a non-tonic major chord: Lydian\n6 | F7b9       # V7 of the BbMaj7\u002FF before it: b9 and b13 are in the key\n# area: Eb major (B 7 – A2 5)\n7 | Fm7        # ii of Bb9: Dorian\n7 | Bb9        # V7\u002FI in Eb: natural tensions\n8 | Bm7        # ii of E13: Dorian\n8 | E13        # tritone substitute: resolves down a half step to Eb6\n\nsection: A2\n1 | Eb6        # tonic: the 4th is in the key\n2 | Fm7b5      # iiø7 of Eb: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | Bb7b9      # V7 of Eb: the b9 from the symbol\n3 | EbMaj7     # tonic: the 4th is in the key\n3 | Gm7\u002FD      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | Cm7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | Bdim7      # passing diminished: Bb7♭9 without its Bb, the EbMaj7's dominant\n5 | EbMaj7     # tonic: the 4th is in the key\n# area: G major (A2 6–8)\n6 | Am7b5      # iiø7 of G: Locrian, the key's own notes (its ♭2 is a passing note)\n6 | D7         # V7 of G: natural tensions\n7 | GMaj7      # tonic: the 4th is in the key\n8 | G7sus      # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Eb major (A2 8 – C 8)\n8 | G7         # V7\u002Fvi in Eb: b9 and b13 are in the key\n\nsection: C\n1 | Cm7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n1 | Eb7\u002FBb     # V7\u002FIV in Eb: natural tensions\n2 | Ab6        # the Eb7\u002FBb before it makes Ab the key of the moment: the 4th is in the key\n2 | Abm6       # a minor sixth chord: Dorian\n3 | Gm7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | C9         # extended ii–V: a side-step, its own key\n4 | Gbdim7     # passing diminished: a rootless dominant ♭9\n5 | Fm6        # a minor sixth chord: Dorian\n5 | Edim7      # vii°7 of Fm7: C7♭9 without its root\n6 | Fm7        # ii: Dorian, the key’s own notes\n6 | D7\u002FBb      # VII7 in Eb, not resolving: b9 and b13 are in the key\n7 | Fdim7\u002FEb   # passing diminished: Bb7♭9 without its Bb, the Eb69's dominant; not functioning diatonically: the symmetric scale\n7 | Eb69       # tonic: the 4th is in the key\n8 | Fm7        # ii of the ii–V to Eb\n8 | Bb7sus     # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n",1793575906279]