So this is a great, this is a great exercise, I think, in...

And I'm not sure how Harvey would think about composing this,

but, you know, using this motif of...

Right here in this next section, right?

For C minor 7...

To that A-flat 7, sharp 11, where the sharp 11 is the melody note.

Yep.

And then the next phrase is the same phrase melodically, not rhythmically, but the same sort of

melodic shape, direction and shape of that.

Right.

And we moved to an A minor 11 with that D. d again so you went from ending the phrase with a d

and an a flat 7 sharp 11 to a d and an a minor 11 and i love this thing like play those those just

back and forth same d in the melody and the two chords yeah this is what talking about, like, really get to get to know what those sound like and how they resolve and don't resolve. And, like, that's the magic when you can play around with that. And then we go to G major. Now we've really switched keys. So we haven't really, even on the susses and going to the ear and even on here,

we're not really out of like the realm of E flat major.

Right.

And three flats, four flats for A flat, very, very closely related, right?

Yeah, for sure.

But then here, you know, after we...

Yep.

And then he does this little...

Which I think is...

That might be the best part of the tune.

...