This page is BELIEVEYOUME
Eight deep-chapter drafts, awaiting your ear-check. It is one of the projects Brandon built and put online. The grown-up details are below, tap Grown-up mode to read them the normal way.
Draft showcase — for review
BELIEVEYOUME
Eight deep-chapter drafts, awaiting your ear-check
DRAFT, not the live book. These are the 5 disputed-key BELIEVEYOUME chapters plus Lazarus and Endless Summer, plus Not Too Much, the first three of the five remaining songs, rebuilt as Harmon-density deep reads from MIDI, stems, and Guitar Pro source (8 of 10 songs). Keys are still verified:false in keys_resolved.yaml, pending your ear-check of the marked windows. This page is report-only. The live book is untouched.
Every harmonic claim is rendered straight from the draft .md files. Nothing here is invented.
Each song carries a resolved key, a verdict against the old card, the chapter thesis, the harmonic spine, the strongest evidence, and the corrections owed to the live card.
The shared engine across every song: flat-side gravity, no functional dominant, the bass walking home, the third decided by the voice. Among the disputed five, four resolve major or minor by what the singer sings; The Mutiny is the closest call. Lazarus, the sixth here, refuses to settle its third at all.
Read it, then react. Your feedback flips the keys from verified:false to verified.
Verdict vs the old card, V3
The tonic is G across every section, undisputed. The third is unstable. The 84-template mode-aware pass on the CDN MIDI (138 vocal notes, full-vocal source) ranks G Mixolydian 0.0996, G Aeolian 0.0978, G Ionian 0.0767. The song-wide gap from Mixolydian to Aeolian is 1.8 percent, low confidence. The per-section pass shows a real shift: windows 1 and 2 read Mixolydian, windows 3 to 5 read Aeolian, with window 3 the only high-confidence segment (21.1 percent gap, Aeolian). The honest label is what the badge now says, not a single mode tag. The harmonic-spine table below is the trustworthy ground, the mode line is a summary of it. Section-by-section verdict report: believeyoume-keys-modes.
The thesis
The rhythm guitar plays a rootless G + A + D stack in Drop C with no third at all, so the riff alone is modally bare, a G with the deciding pitch withheld. The voice answers it: across the CDN transcription it lands the major third B 46 times against B-flat once, and the lead sustains the major seventh F-sharp. The song is G major the moment a human sings over it, and modally bare the moment he stops. The old G-minor card was reading the riff and missing the singer.
Harmonic spine — one alternation, I to flat-III, no dominant
Bars
1–2
3–4
5–6
7–8
9
10
11
12
Full chord
G5add9
B♭6/9
Gmaj9
B♭6/9
Gmaj9
B♭6/9
Gmaj9
Guitar chord
G5add9
B♭6/9
G/B
Roman
I add9
♭III 6/9
I add9
♭III 6/9
I
♭III
I
I⁶
Bass
G1
B♭1 ↘ G1
G1
B♭1 ↘ G1
G1
B♭1 ↘
G1
B1
Guitar
G · A · D
Vocal
—
—
B3
C4
B3
C4
B3
B3
Guitar chord = guitar + bass (no vocal). Full chord = all three layers combined; Gmaj9 in bars 5–11 because the voice supplies the M3 (B) the guitar withholds. Guitar row shows the fixed G · A · D stack (no 3rd) held throughout. Empty cells = chord unchanged. Source: alligator-audio-truth.mid, full 12-bar parse.
Recording timeline real mm:ss, measured from the stems
0:02
0:42
0:47
1:02
1:47
2:17
2:22
2:42
0:02-0:42 G IonianIntro0:42-0:47 G IonianSection 20:47-1:02 G DorianSection 31:02-1:47 G IonianSection 41:47-2:17 G DorianSection 52:17-2:22 G PhrygianSection 62:22-2:42 G IonianSection 72:42-3:35 G AeolianOutro
Timestamps + mode-per-section from believeyoume-section-modes, anchored to the real recording length (ffprobe-verified). The bar table above is harmonic structure; this strip is where it lands in time.
Strongest evidence
The voice sings the major third 46 times for every single minor third. In the CDN vocal track, B = 46 hits, B-flat = 1 hit. The Moises vocal stem agrees: B is the most-sung pitch class at 14.2 percent, beating B-flat by about 1.7-to-1.Shiner-TheAlligator-FROMCDN.mid, Vocals track + keys_resolved.yaml, vocal_stem
The rhythm guitar is built to refuse the question. The Moises rhythm-guitar stem reads B (major third) at 7.7 percent and B-flat (minor third) at 6.1 percent, nearly even. The G + A + D fingering is add9 over G and 6/9 over B-flat, so the chord's identity comes from the bass note alone.keys_resolved.yaml, rhythm_guitar_stem + alligator-audio-truth.mid per-bar pitch sets
A Gmaj9 assembled across four players, voiced by none. G (bass), B (voice, M3), D (guitar, 5), F-sharp (lead, M7), A (guitar, 9). The lead sustains F-sharp through every G bar, 54 percent of its notes in the model.alligator-audio-truth.mid, Lead Guitar track + CDN Lead F-sharp 33 hits
The bass clears its throat before every return home. At the end of every flat-III bar returning to G (bars 4, 8, 10) the bass plays a 32nd-note B-flat1 → A-flat1 → G1 descent. The A-flat is a borrowed flat-2 chromatic passing tone, roughly 60 ms per step at 120 BPM.alligator-audio-truth.mid, Electric Bass, verified onset times bars 4/8/10
Corrections to the live card
Key: G minor → G major (third carried by the voice, rhythm guitar rootless).
Tempo: card says 80.7 BPM. GP, both MIDIs, and Moises all read ~120 BPM (Moises beat-track 117.5). The 80.7 looks like a half-time mis-read.
"B major (III) chromatic intrusion": could not confirm any B-major triad in any file. The B present is the diatonic major third in the voice and the G/B bass.
"F-sharp augmented / flat-VII-sharp-5": not found. The F-sharp is the diatonic major seventh in the lead over G major.
So Far So
Resolved key, V3D centered, sectional, Mixolydian at the head and Aeolian by the body
Verdict vs the old card, V3
D is the tonic across windows 1 through 4 of the song-wide split, undisputed. The third is sectional. The 84-template pass on sofarso-06-03-2026.mid (236 vocal notes, full-vocal source) reads D Mixolydian in the first two windows (medium confidence, 12.1 and 7.5 percent gap), tips to D Aeolian in window 3, then drifts (A Dorian, then Bb Lydian by the outro). The chapter card's previous D minor label captured the chorus correctly but missed the verse, which carries the major third (F# beats F-natural 0.128 to 0.062 song-wide). The harmonic-spine table is the trustworthy ground here. Section-by-section verdict report: believeyoume-keys-modes.
The thesis
The song is sectional. Its loudest region, the chorus, parks the bass on B-flat (flat-VI) for bars at a stretch, and a read that weights the hook hears B-flat as home and reaches for "G." The verses settle it: every verse window is a hard D pedal (D 91 to 100 percent). The third reads minor in every stem, F over F-sharp in voice, bass, and combine, and B-flat beats B-natural. D minor wins decisively. "G" has no support anywhere.
Harmonic spine — i to flat-VI and back, no functional dominant
Section
Bass home
Guitar chord
Full chord
Roman
Source window
Intro
D pedal
D5 (no 3rd)
D5 (no 3rd)
i (open 5th)
bars 0–13, bass D 100%
Verse
D pedal
D5 / F5add♭9
Dm (F min3 by voice)
i (F/F♯ flicker)
60–78s, bass D 100%
Chorus
B♭ pedal
B♭6/9
♭VI 6/9
100–130s, bass B♭ 68%
A-reset
A
Am add9
v add9
bars 61/65/69/133
Bridge
B♭ then D
B♭6/9 → D ped
B♭6/9 (G4 vocal) → D ped
♭VI → i
bars 60–75
Outro
B♭ then D
♭VI → i
bars 131–138
Guitar chord = guitar + bass voicing only. Full chord = guitar + bass + vocal combined. Empty cells = no change from the row above. i to flat-VI, no V anywhere. Sources: bass per-bar and time-windowed parse of sofarso-06-03-2026.mid, chord runs from 04-So-Far-So.chords.json, bridge/outro bar maps.
Recording timeline real mm:ss, measured from the stems
0:00
0:49
0:56
1:40
2:11
2:31
3:08
3:23
4:08
0:00-0:49 D AeolianIntro0:49-0:56 D PhrygianSection 20:56-1:40 D AeolianSection 31:40-2:11 D AeolianSection 42:11-2:31 D PhrygianSection 52:31-3:08 D AeolianSection 63:08-3:23 D DorianSection 73:23-4:08 D AeolianSection 84:08-4:20 D PhrygianOutro
Timestamps + mode-per-section from believeyoume-section-modes, anchored to the real recording length (ffprobe-verified). The bar table above is harmonic structure; this strip is where it lands in time.
Strongest evidence
The verses are a pure D pedal, the chorus is a pure B-flat pedal. Verse windows read D 91 to 100 percent; both chorus regions read B-flat at 68 percent. The whole-song bass tally is D 49 percent, B-flat 32 percent. D is home by a wide margin, B-flat is the visitor.sofarso-06-03-2026.mid, Electric Bass, time-windowed parse + Shiner-SoFarSo-FROMCDN.mid, 690 notes
The voice votes minor about seven-to-one. The singer touches F (minor third) roughly seven times for every brush of F-sharp, F at 14.2 percent against F-sharp at 1.7 percent in the transcribed vocal. The combine reads D minor 0.767 over D major 0.628, G minor 0.406.Shiner-SoFarSo-FROMCDN.mid, Vocals + keys_resolved.yaml, combined_profile
The flat sixth is structural, not decorative. In the combined profile B-flat 10.8 percent beats B-natural 6.1 percent. A song in any flavor of D major would lean on B-natural. This one leans on B-flat, which is why the chorus feels like it sinks even as it lifts in volume.keys_resolved.yaml, rhythm_guitar_stem and combined_profile
The voice circles the v, not the tonic. A is the most-sung pitch class at 22 percent overall and 40 to 42 percent in every verse window, the fifth of D minor and the root of the v chord. The voice starts on the fifth and reaches the tonic only in passing.Shiner-SoFarSo-FROMCDN.mid, Vocals + sofarso-06-03-2026.mid time-windowed
Corrections to the live card
Key: "G" and D major → D minor (D-centered natural minor, with a B-flat flat-VI pedal that takes over the choruses).
Verse loop "D, G, B-flat, A": not confirmed. No G or A verse roots in the bass. Every verse is a D pedal. The G is the 4 carried by inner voices, the A is the one-bar v reset.
Refrain "closes on V (A)": not borne out. The song ends on a D pedal, the last sounding pitch is a low D. No A-major dominant.
"D Mixolydian" (bridge/outro card lines): could not confirm. Mixolydian needs F-sharp and B-natural. The audio has near-zero F-sharp and B-flat over B-natural. The global aggregate reads D natural minor.
Broken Satellites
Resolved key, V3E♭ Lydian, the album's only high-confidence verdict
Verdict vs the old card, V3
The tonic E-flat is undisputed and the album's strongest tonal commitment. The mode is the surprise. The 84-template mode-aware pass on the CDN MIDI (258 vocal notes, full-vocal source) ranks E♭ Lydian 0.1613 over E♭ Ionian 0.1357, gap 15.9 percent, the first high-confidence verdict in the project. The diagnostic is A-natural (the Lydian ♯4) at 0.079 outweighing A♭ (the natural-4 of plain E♭ major) at 0.031. Section-by-section, windows 1, 3, 5 read E♭ Lydian with window 5 also high confidence (15.8 percent gap), window 2 reads B♭ Ionian which is the parent key of E♭ Lydian, and window 4 reads C Aeolian as the bridge darkens with A♭. The old card's "E♭ major" was right about the root and wrong about the mode. Section-by-section verdict report: believeyoume-keys-modes.
The thesis
The song prolongs its E-flat tonic, then parks its surface harmony on B-flat (V) and on a Cm (vi) pedal in the loud middle, long enough that a chord-detector counting surface chord-time calls the whole song B-flat. The bass settles it: E-flat is home at 47.5 percent of the per-beat fundamental, top root in 10 of 12 chunks. The third reads major, unanimously: the minor third F-sharp appears zero times in bass, rhythm, lead, and vocal, and the major third G is sung 56 times. The album's one track where major is the full commitment.
Harmonic spine — tonic prolongation, a vi pedal, a V that never cadences
Section
Time
Bass home
Chord
Roman
Intro
0–30s
E♭ / F
E♭ → F
I → V/ii
Verse
30–90s
E♭ pedal
E♭ maj7/add9
I (prolonged)
Build
90–120s
E♭ → Cm
E♭ → Cm
I → vi
vi pedal
120–150s
Cm pedal
Cm
vi
Verse-2
150–180s
E♭ / F
E♭ → B♭-sus
I → Vsus
Bridge
180–240s
E♭ / Cm
E♭ → Cm
I → vi
vi pedal
240–270s
Cm pedal
Cm → B♭-sus
vi → Vsus
Outro
270–330s
E♭ pedal
E♭ (+Cm color)
I
Outro-tail
330–363s
D / Dm
D
♭VII (chrom)
I prolonged, vi pedaled, V suspended, back to I, with a late chromatic D tail. No authentic V-to-I cadence with a root landing anywhere. Sources: bass time-windowed parse of Shiner-BrokenSatellites-FROMCDN.mid, README 24-section bar map, chord-over-lyric chart.
Recording timeline real mm:ss, measured from the stems
Timestamps + mode-per-section from believeyoume-section-modes, anchored to the real recording length (ffprobe-verified). The bar table above is harmonic structure; this strip is where it lands in time.
Strongest evidence
The major third is unanimous, infinity-to-one. The minor third F-sharp appears zero times in bass, rhythm guitar, lead, and vocal. The major third G appears 37 times in the bass, 297 in the rhythm guitar, 73 in the lead, and 56 in the vocal, where it is the single most-sung pitch class at 22 percent.Shiner-BrokenSatellites-FROMCDN.mid, per-track mido PC tally
E-flat is home, B-flat is the dominant it resolves to. Per-beat yin bass puts E-flat at 47.5 percent, top root in 10 of 12 chunks. The combined four-stem profile reads E-flat major 0.770 over the disputed B-flat major 0.633, G minor 0.563, C minor 0.559.keys_resolved.yaml, bass_stem + combined_profile
The Cm pedal is the trap that fooled the detector. In the loud middle the bass top root flips to C for sustained stretches (C at 11 to 14 hits per window, top root in every loud window). A 30-second key-fit at 220s sits inside that zone and mis-calls "C minor." The whole-song aggregate corrects it to E-flat.Shiner-BrokenSatellites-FROMCDN.mid, Electric Bass time-windowed + keys_resolved.yaml, method
The voice never abandons the E-flat collection, even over the Cm pedal. Over the Cm zones the vocal top pitches stay G, F, E-flat, which are scale degrees 3, 2, and 1 of the E-flat home. The verse chord field is entirely diatonic: E-flat (I), Cm (vi), Ddim (vii°), Fm (ii), Gm (iii), B-flat (V).Shiner-BrokenSatellites-FROMCDN.mid, Vocals time-windowed + charts/broken_satellites_chord_lyric_FROMMIDI.md
Corrections to the live card
Surface label: the disputed B-flat major (Moises raw detector, 0.809) → confirmed E-flat major. B-flat is the V.
Chromatic intro descent "B-flat–A–A-flat–G": zero occurrences in the recorded bass. The intro opens D1, F1, then E-flat.
"Outro avoids root-position tonic, closes on a non-root chord": the opposite. The bass pedals E-flat hard from 270 to 320s, the most concentrated E-flat in the song. The genuine non-resolution is the late D outro tail.
Tempo: card says 78.3 BPM. GP, MIDIs, and stems read ~117.5 BPM (the CDN file's 120 is a transcription clock). The 78.3 looks like a slow-mode mis-read.
The Mutiny
Resolved key, V3B♭ centered. The band reads B♭ Aeolian. The voice reads B♭ major. The song is the disagreement.
Verdict vs the old card, V3
The B-flat center is undisputed. The third is the whole argument. On the full CDN MIDI mix (196 vocal notes, full-vocal source), the 84-template pass returns B♭ Aeolian at high confidence, 20.2 percent gap over G♭ Lydian, because the Drop-C rhythm-guitar dyads ring the flats hard. On the vocal track only, the same pass ranks D Phrygian first and B♭ Ionian second, with D (major third) outweighing D♭ (minor third) 0.135 to 0.078, the singer-on-major story the chapter card was telling all along. Both reads are correct. The song is what happens when the band averages dark and the singer answers bright. Section-by-section verdict report: believeyoume-keys-modes.
The thesis
Every layer agrees on B-flat as home: the bass settles there, the opening is a bare B-flat5 power chord, and the single most-sung vocal pitch is B-flat itself at 23.6 percent. The argument is only ever about the third. The Drop-C rhythm guitar plays rootless dyads whose flat-VI (G-flat) and flat-VII (A-flat) ring loud enough that whole-song Krumhansl on the summed chroma top-picks B-flat minor at 0.836, which is exactly what the old audit saw. But G-flat and A-flat are modal-mixture colors over a major-third tonic, not the marks of a minor key. The vocal-isolated sung-third test settles it: on B-flat the sung D (major third) reads 16.9 percent against D-flat (minor third) at 9.1 percent, a 1.9-to-1 win. B-flat major with a dark flat-6 / flat-7 field, the honest label the GP-MIDI re-audit's bar-3 G-flat finding already pointed at.
Harmonic spine — a B-flat tonic ringed by its flat-VI and flat-VII, no functional dominant
Section
Time
Bass home
Chord
Roman
Opening
0–60s
B♭
B♭5 (+ bar-3 G♭)
I (♭6 color)
Verse
60–90s
G♭ pedal
G♭
♭VI
Build
90–150s
A♭ / F
A♭ → F
♭VII → V
Pre-body
150–180s
F pedal
F
V (no cadence)
Body
180–240s
B♭ pedal
B♭ (D sung = maj3)
I
Outro
240–270s
B
B
chrom drift
The bass pedals a different root per section: flat-VI and flat-VII for the verse and build, then home to B-flat for the body where the voice's major third is actually sounded. Any read taken outside the 180–240s body, or any whole-song chroma aggregate, mis-calls B-flat minor because those flat-side pedals are mixture, not a minor tonic. Sources: per-30s rms-gated yin bass trajectory of 03 - The Mutiny-bass.wav + the GP-MIDI re-audit's B-flat5 / bar-3 G-flat finding.
Recording timeline real mm:ss, measured from the stems
Timestamps + mode-per-section from believeyoume-section-modes, anchored to the real recording length (ffprobe-verified). The bar table above is harmonic structure; this strip is where it lands in time.
Strongest evidence
The voice sings the major third about two-to-one. Vocal-isolated sung-pitch yin, rms-gated and octave-folded: the most-sung pitch class is B-flat (the tonic) at 23.6 percent, then D (the major third) at 16.9 percent against D-flat (the minor third) at 9.1 percent, a 1.9-to-1 major win. The vocal's own chroma Krumhansl top pick in the body window is B-flat major 0.694, the only stem whose top pick is B-flat major.keys_resolved.yaml, vocal_stem (yin sung-pitch + chroma_cqt, 03 - The Mutiny-vocals.wav)
B-flat is home in every source. Windowed-body bass yin reads B-flat at 42.1 percent, whole-song 24.8 percent top root. The song opens on a bare B-flat5 power chord, the GP-MIDI opens on B-flat5, and the FROMCDN bass track's top pitch class is B-flat. No source places the home root anywhere else.keys_resolved.yaml, bass_stem + cross_check_gp_and_midi (Shiner-TheMutiny-FROMCDN.mid)
The flat-6 and flat-7 mixture is what fooled the auto-detector. The Drop-C rhythm guitar's top pitch classes are F, B-flat, and F-sharp (G-flat), the flat-VI / flat-VII / V power-dyad pool. Summed across all stems the whole-song Krumhansl top pick is B-flat minor 0.836, because the aggregated G-flat / A-flat / D-flat mass outweighs the sparse, vocal-only major third. That aggregate is exactly the signal the old "B-flat minor" call read.keys_resolved.yaml, rhythm_guitar_stem + combined_profile
The voice carries the darkness too, but as color, not tonic. In the sung field G-flat (flat-6) beats G-natural (3.0 percent) and A-flat (flat-7, 8.1 percent) beats A-natural, so the mode is a B-flat major third sitting over a flat-6 / flat-7 collection, a Mixolydian-with-flat-6 coloration rather than B-flat natural minor. The GP-MIDI re-audit independently pinned the G-flat to bar 3 of the opening B-flat5 zone.keys_resolved.yaml, vocal_stem distinguishing-tone test + mutiny-reaudit/AUDIT_REPORT.md
Corrections to the live card
Key quality: the disputed B-flat minor (auto-detector 0.715) → B-flat major with ♭VI / ♭VII mixture. The B-flat minor reading is a Drop-C rootless-dyad artifact; the voice's sung major third overrides it.
Book card "B-flat": correct as far as it goes (the tonal center is right, no quality was stated). If the book asserts a third anywhere, it should read major-with-mixture, not minor.
Tempo:129.2 BPM, matching both the audit and the GP-MIDI's 130. No discrepancy to fix.
Honesty note: this is the closest call of the five. The major verdict rests on the vocal-isolated sung third; your ear-check of the 180–240s body against a flat-side pedal zone matters more here than on the other four.
My Mirror Hates Me
Resolved keyE minor
Verdict vs the old card
Confirms the live card's E minor over the audit's weakest call, E major at 0.549, the lowest confidence of any song in the audit. The bass anchors E hard, and the voice sings the minor third G over G-sharp. The detector's thin "E major" margin came from the ringing rhythm guitar, and the voice overrides it.
The thesis
This is the one disputed track in standard tuning, E-A-D-G-B-E, so the open-E anchor is a genuine tonic rather than a Drop-C low-string ring. The bass makes the center unmistakable: per-beat yin reads E at 52.4 percent, the top root in 7 of 10 chunks, and the FROMCDN MIDI bass reads E at 53.3 percent with zero G-sharp. The third is decided by the voice, and the voice sings minor: aggregated over the whole song the sung G (minor third) beats G-sharp (major third) by about 1.6-to-1, and G is the single most-sung pitch class in every E-home verse and chorus chunk. The only place G-sharp surfaces is the A/D-pedal bridge, where the bass is off E entirely. The rhythm guitar's razor-thin major lean is the detector artifact; the voice and the bass both read E minor.
Harmonic spine — an E-minor body against an A/D-pedal bridge, no functional dominant
Section
Time
Bass home
Chord
Roman
Verse
0–120s
E pedal
Em (G sung = min3)
i
Bridge
120–150s
A pedal
A / D (rings G♯)
iv / ♭VII
Verse / chorus
150–210s
E pedal
Em
i
Bridge
210–240s
A pedal
A / D
iv / ♭VII
Chorus
240–270s
E pedal
Em
i
Outro tail
270–300s
F
F
♭II (chrom)
E-home verses and choruses bookend an A/D-pedal bridge that rings G-sharp and B. That bridge, and the late F outro tail, are why an isolated window (the RMS pick at 106.9s mis-calls D major) or a raw chroma aggregate can flirt with major. The whole-song aggregate and the per-chunk sung third both settle the global E minor. Sources: per-30s bass-root and vocal sung-third trajectory of 05 - My Mirror Hates Me stems + Shiner-MyMirrorHatesMe-FROMCDN.mid.
Recording timeline real mm:ss, measured from the stems
0:00
0:18
1:44
2:16
2:52
3:23
3:53
4:36
0:00-0:18 E PhrygianIntro0:18-1:44 E AeolianSection 21:44-2:16 E AeolianSection 32:16-2:52 E DorianSection 42:52-3:23 E PhrygianSection 53:23-3:53 E IonianSection 63:53-4:36 E AeolianSection 74:36-4:44 E DorianOutro
Timestamps + mode-per-section from believeyoume-section-modes, anchored to the real recording length (ffprobe-verified). The bar table above is harmonic structure; this strip is where it lands in time.
Strongest evidence
The voice sings the minor third, body chunk after body chunk. Aggregated whole-song, the sung G (minor third) is the single most-sung pitch class at 17.7 percent against G-sharp (major third) at 11.0 percent. The per-30s trajectory is one-sided in every E-home chunk: G 23.1 / G-sharp 14.7 at 0–30s, G 36.5 / 19.0 at 30–60s, G 30.5 / 15.0 at 180–210s. G-sharp only leads in the A/D-pedal bridge chunks.keys_resolved.yaml, vocal_stem (yin sung-pitch, rms-gated, octave-folded)
The bass anchors E and carries no major third at all. Whole-song yin reads E at 52.4 percent, dwarfing the next root, and E is the top root in 7 of 10 chunks. The FROMCDN MIDI bass reads E at 53.3 percent with zero G-sharp. Bass Krumhansl tops E minor 0.775 over E major 0.687.keys_resolved.yaml, bass_stem + cross_check_gp_and_midi (Shiner-MyMirrorHatesMe-FROMCDN.mid)
Standard tuning makes the E a real tonic, not a drop ring. The GP file's guitar tuning is 40-45-50-55-59-64, E-A-D-G-B-E, standard, unlike the four Drop-C tracks on the rest of the record. The open-E anchor is genuine, which strengthens rather than complicates the E center.keys_resolved.yaml, cross_check_gp_and_midi, gp8_songsterr (Unknown Artist-My Mirror Hates Me-05-29-2026.gp)
The "E major" call was the auto-detector's weakest, and the aggregate corrects it. The rhythm guitar reads a razor-thin G-sharp 11.0 percent over G 9.1 percent, the thin margin the detector flagged at 0.549, its lowest confidence in the audit. The whole-song combined chroma corrects it: E minor 0.742 over E major 0.681.keys_resolved.yaml, rhythm_guitar_stem + combined_profile
Corrections to the live card
Key: the live card's E minor is confirmed. The audit's E major (0.549, its weakest call) is the auto-detector error, driven by the rhythm guitar's thin major margin and the G-sharp that rings only in the A/D-pedal bridge.
Tempo: compare the card against 112.3 BPM, not 57.4. The raw beat-track returned 57.4, an octave / half-tempo error, and that number was discarded.
Tuning: note that this track is standard E-A-D-G-B-E, not Drop C. It is the one disputed song that is not drop-tuned.
Sectional caveat: an isolated window near 106.9s mis-calls D major because it straddles the A/D-pedal bridge. The global home is E minor; the bridge is a iv / flat-VII contrast, not a modulation.
Lazarus
Resolved keyC, major/minor-third mixture
Verdict vs the old card
The tonic C is rock-solid and never in doubt. The old card's flat C minor over-commits the third. The band leans minor and the singer leans major, and the song is built on that disagreement: the opening guitar voices a plain C–E–G major triad, the refrain swings to the flat side, and the long outro is a third-less suspended drone. The honest call is C with major and minor thirds in play, the third flagged for your ear-check.
The thesis
This is the first Lazarus chapter built from a vocal track. Every prior export shipped guitar and bass only, so the published cards repeat “no vocal track in any file” and read the song as harmony alone. The 06-02 export carries 165 vocal notes, D-sharp 3 to F4, and it changes the reading. Read the harmony and the voice as two layers, the way the chord rule demands, and they split on the third. The whole-song harmony tally (rhythm guitar plus bass) runs E-flat 310 against E-natural 176, a minor lean, which is where “C minor” comes from. The vocal runs the other way, E-natural 18 against E-flat 5, a major lean of about 3.6 to 1. And the guitar itself voices a full C major triad in the opening (bars 1, 9) and at the refrain's arrival (bars 33–36). The E-flat weight is the runtime mass of the flat-side refrain and the suspended outro, not a minor third sounding under the bright verses. C is home; the third is the whole drama.
Harmonic spine — one tonic C lit from three angles, no functional dominant
Section
Bars (06-02)
Guitar over C
Roman (C)
Opening / verse
1–24
C–E, C–A, C–A♭–A, C–B
I, color shifts (6, ♭6→6, maj7)
Refrain
25–32
E♭ · A♭ · B♭ (· F)
♭III · ♭VI · ♭VII
Refrain arrival
33–36
C–E–G
I (major return)
Middle cycle
73–96
dyads, roots C→A→A♭→B→G
I–vi–♭VI–VII–v
Low-vocal turn
~130
F / B♭, voice drops to G3
drone, vocal down an 8ve
Outro drone
132–206
C–F–G–B♭ (sus, no 3rd)
I7sus / I-Mixolydian
The verse holds C in the guitar and walks the bass in chromatic steps underneath (C / D / B-flat / C-sharp), so each step recolors the chord without the grip moving. The refrain is the record's flat-side gravity, flat-VI / flat-III / flat-VII, then resolves up into a C major triad at bars 33–36. There is no G-major dominant anywhere; the song resolves by the bass settling home on C. Source: per-bar Rhythm+Lead+Bass parse of the 06-02 MIDI via deep_read.py, section map confirmed against revision_lazarus_5cards_2026-06-04.md.
Recording timeline real mm:ss, measured from the stems
0:00
0:32
0:43
1:14
1:37
2:08
2:24
3:44
4:28
0:00-0:32 C DorianIntro0:32-0:43 C AeolianSection 20:43-1:14 C DorianSection 31:14-1:37 C AeolianSection 41:37-2:08 C DorianSection 52:08-2:24 C DorianSection 62:24-3:44 C AeolianSection 73:44-4:28 C AeolianSection 84:28-4:33 C PhrygianOutro
Timestamps + mode-per-section from believeyoume-section-modes, anchored to the real recording length (ffprobe-verified). The bar table above is harmonic structure; this strip is where it lands in time.
Strongest evidence
The band leans minor, the singer leans major. The whole-song harmony tally (rhythm guitar plus bass) reads E-flat (minor third of C) 310 against E-natural (major third) 176. The Vocals track reads the opposite, E-natural 18 against E-flat 5, about a 3.6-to-1 major lean. The song is built on that cross-relation rather than resolving it.06-02 MIDI third tally, deep_read.py (Shiner…Lazarus-06-02-2026.mid)
The opening is C major in the guitar itself, not just the voice. Bars 1–2 and 9–10 voice a plain C–E–G triad, and the refrain arrives back on C–E–G at bars 33–36. The brightest sonority on the song lands right after the darkest, the structural answer to the lyric “the best of all is when it opens up.”06-02 MIDI per-bar parse, deep_read.py 1 16 and 25 40
The refrain is the flat side over a chromatic bass. Bars 25–32 voice E-flat, A-flat, B-flat (flat-III / flat-VI / flat-VII) while the bass holds a chromatic C / C-sharp / D cluster rather than rooting on the flat chords. The flat colors ring on top; the tonic neighborhood holds underneath.06-02 MIDI per-bar parse, deep_read.py 25 40
The outro is a C-suspended drone, no third, rooted on C. Bars 132–206 hold C–F–G–B-flat (the flat-7, 4, and 5 over C) with the lowest sounding bass note at C2. The song never plays a clean C major or C minor triad to close; it dissolves into a suspended C that withholds its mode. This corrects the prior pass, which called the field B-flat rooted; the bass roots it on C.06-02 MIDI outro lowest-note check, bars 140–160; corrects revision_lazarus_5cards_2026-06-04.md
Corrections to the live card
Key quality: the card's flat C minor → C with major/minor-third mixture (C-major opening and vocal, flat-side refrain, third-less suspended outro). Stays verified:false until your ear-check.
Vocal track: strike “no vocal track in any file.” The 06-02 export carries 165 vocal notes. Add the F4 E4 D4 C4 D4 refrain cell, the E-natural sung over the E–A dyad in the middle, and the G3 low-register turn.
Opening bass spelling: the walk reads C / D / B-flat / C-sharp in the 06-02 grid, not “C, E, G-flat, D.” The B-flat is the Drop-C low-string ring.
Outro root: correct the prior “B-flat suspended field” to a C7sus drone (bass C2, B-flat stacked above as the flat-7).
New cards: add the low-register vocal turn and the C-suspended outro; the published chapter ends at the middle and names neither.
Honesty note: this pass used the MIDI vocal track only, no stems. A Moises-stem sung-third check (as done for the other five) would harden the mixture call before sign-off.
Endless Summer
Resolved keyB♭ major
Verdict vs the old cardConfirms B-flat major, the one disputed-or-remaining song where the deep read agrees with the card on the first pass. The home root is B-flat by a wide margin, the harmony third reads major about four to one, and the voice sings the major third D louder than any other pitch on the song. This is the record's one true diatonic major.
The thesis
Every layer agrees on B-flat major. The bass plays B-flat 57.8 percent of the song, with E-flat (the IV) at 15.4 percent and F (the V) at 11.1 percent, a clean I–IV–V root field, the most diatonic on the record. The third reads bright: across rhythm guitar plus bass the major third D beats the minor third D-flat 177 to 43, and the voice agrees and leans on it harder than on any other song, the single most-sung vocal pitch class is D, the major third, at 29.1 percent, ahead of the 9th and the root. Where The Alligator needed the voice to rescue a rootless riff into major, Endless Summer is major in the riff, major in the bass, and major in the mouth. The only shadow is a blue third: the vocal slides a D-flat (16.9 percent) against the major D the way a blues singer bends the third, a major-key brightness with a flatted third bent through it, the musical body of the lyric's sun-and-rain irony.
Harmonic spine — a B-flat tonic that stays home and decorates itself, no separate bridge
Section
Bars
Chord
Roman (B♭)
Opening
3–12
B♭maj7 (F + A, 3rd withheld)
I maj7 (no 3rd yet)
Verse
13–24
B♭6/9 (C D F G over B♭)
I 6/9, D = maj3
Refrain cycle
44–62
B♭ → G♭ → F → E♭
I → ♭VI → V → IV
Chorus
63–72
B♭5, voice on D (maj3)
I, sung major third
Late sections
88+, 167–176
repeats of the above
I-home, color shifts
The opening withholds the third (F and A over B-flat, a B-flat maj7), the verse opens to a B-flat 6/9 as the major third D arrives in the voice, the refrain drops the album's flat-VI G-flat into one descending cycle before climbing home, and the chorus pedals B-flat with the voice flat on the major third. The structural sweep found no separate bridge: B-flat home from the first bar to the last. Sources: per-bar Rhythm+Lead+Bass parse of endless-summer-cdn.mid via deep_read.py, structure from endless-summer-bridge-sweep/BRIDGE_AUDIT.md.
Recording timeline real mm:ss, measured from the stems
Timestamps + mode-per-section from believeyoume-section-modes, anchored to the real recording length (ffprobe-verified). The bar table above is harmonic structure; this strip is where it lands in time.
Strongest evidence
The voice sings the major third loudest. The single most-sung vocal pitch class is D, the major third of B-flat, at 29.1 percent, ahead of C (the 9th) at 20.9 percent and B-flat (the root) at 19.6 percent. Counted head to head, sung D beats sung D-flat 43 to 25. This is the most assertive major third on the record.endless-summer-cdn.mid, Vocals tally, deep_read.py
The harmony reads major about four to one. Across rhythm guitar plus bass the major third D registers 177 against the minor third D-flat at 43. The riff itself is major, not a rootless dyad needing the voice to decide it.endless-summer-cdn.mid, third tally, deep_read.py
A clean I–IV–V root field. The bass plays B-flat 57.8 percent of the song, E-flat (the IV) 15.4 percent, F (the V) 11.1 percent. That is the most diatonic bass spread on the record, and it places home unmistakably on B-flat.endless-summer-cdn.mid, Electric Bass whole-song tally, deep_read.py
The album's flat side shows up once, as the refrain's flat-VI. The refrain bass walks B-flat to G-flat (flat-VI) to F (V) to E-flat (IV), dropping the record's submediant signature into the major outlier for one descending cycle before climbing home. The structural sweep names the same cycle at bars 44–62 and again from bar 88.endless-summer-cdn.mid bars 41–62 + endless-summer-bridge-sweep/BRIDGE_AUDIT.md
Corrections to the live card
Key:no change. B-flat major is confirmed by bass root field, harmony third, and sung third together. The card can state the quality with full confidence.
Add the vocal evidence: the most-sung vocal pitch is D, the major third, at 29.1 percent, with the chorus line flat on D, plus the blue-third D-flat (16.9 percent) that shadows it.
Label the voicings: the opening is a B-flat maj7 with the third withheld, the verse opens to a B-flat 6/9. Not a plain B-flat triad.
The one flat-side move: note the refrain cycle B-flat → G-flat (flat-VI) → F (V) → E-flat (IV), the album's submediant signature appearing once even in the major song.
No bridge: confirm the sweep's finding, B-flat home throughout, no separate bridge section.
Honesty note: MIDI-only pass, no stems. A Moises-stem sung-third check would harden the major call, as done for the disputed five.
Not Too Much
Resolved keyA♭ major
Verdict vs the old cardConfirms A-flat major, the record's most extended and open major. The rhythm guitar plays the A-flat triad outright, the major third C beats the minor third about fourteen to one, and the voice never sings the minor third at all. One correction is owed to the proposed bridge sidecar, which frames the song as "B-flat home", the B-flat is the verse's supertonic pedal, not the tonic.
The thesis
The home root is A-flat, the top bass pitch class at 22.9 percent and the top rhythm-guitar pitch class at 21.7 percent, and the guitar voices the A-flat major triad itself (A-flat + C + E-flat) plainly at bars 22–24, so the tonic is a sounded chord, not a histogram guess. The third is major by a landslide: across rhythm guitar plus bass the major third C plays 462 times against the minor third B at 32, about fourteen to one, and the voice sings C 14 times and B zero. What sets the song apart is its color. The vocal lives above the chord, the most-sung pitch is F, the 6th (26.9 percent), then B-flat the 9th, then A-flat the root, then G, the major seventh (13.2 percent), an A-flat major-9 with a 6th. The same treatment carries to the chorus, which moves to the IV, D-flat, and the voice sings C, the major seventh of D-flat, making it a D-flat major-7. Both home chords wear a sung major seventh, the brightest, most open harmony on the album.
Harmonic spine — an A-flat tonic that rocks to its IV and lifts to a chromatic III
Section
Bars
Chord
Roman (A♭)
Intro
1–8
A♭ palette, building
I
Verse
9–18
A♭ maj9/6 (B♭ pedal under)
I (9, 6, maj7)
Chorus
19–24
D♭ maj7 (voice on C)
IV (maj7)
Bridge
48–71
bass-out, then C/E + chrom walk
III lift, chromatic
Chorus return
72+
D♭ → A♭
IV → I
The verse holds A-flat with a B-flat supertonic pedal underneath, the voice riding the 6th and major 7th on top. The chorus drops to the IV (D-flat) with the voice on its major seventh. The bridge is the one departure: seven bars of bass-out, then a C-major zone over an E pedal (a chromatic III lift, the song's brightest moment), with the only chromatic bass walk on the record at bar 60, a structural cousin of the So Far So bridge. Sources: per-bar Rhythm+Lead+Bass parse of ntm-cdn.mid via deep_read.py, bridge bar map from notoomuch-bridge/PROPOSED_BRIDGE_CARD.md re-framed to A-flat.
Recording timeline real mm:ss, measured from the stems
Timestamps + mode-per-section from believeyoume-section-modes, anchored to the real recording length (ffprobe-verified). The bar table above is harmonic structure; this strip is where it lands in time.
Strongest evidence
The A-flat major triad is played, not inferred. The rhythm guitar voices A-flat + C + E-flat plainly at bars 22–24, and A-flat is the top pitch class in both the bass (22.9 percent) and the rhythm guitar (21.7 percent). The tonic is a sounded chord.ntm-cdn.mid, Rhythm+Bass, deep_read.py 1 28
The third is major fourteen to one, with no minor third in the voice. On A-flat the major third C plays 462 times against the minor third B at 32 across rhythm guitar plus bass, and the voice sings C 14 times and B zero. There is no modal ambiguity here.ntm-cdn.mid, A-flat-relative third tally, deep_read.py
Both home chords carry a sung major seventh. The vocal lives above the chord, most-sung on F (the 6th, 26.9 percent) and G (the major 7th, 13.2 percent), an A-flat major-9 with a 6th. The chorus IV (D-flat) takes the voice's C as its major seventh, a D-flat major-7. This lush extended harmony is the song's identity and the reason it sounds unlike its Drop-tuned neighbors.ntm-cdn.mid, Vocals tally + bars 19–24, deep_read.py
The bridge lifts to a chromatic III, and the B-flat framing is corrected. The bridge's C-major zone over an E pedal is a chromatic III lift in A-flat, the song's brightest gesture, with the only chromatic bass walk on the record at bar 60. The proposed sidecar's "B-flat home, flat-III" reading is the supertonic pedal misread as tonic; III-lift and flat-III-drop are opposite gestures, and this bridge brightens.notoomuch-bridge/PROPOSED_BRIDGE_CARD.md, re-framed to A-flat
Corrections to the live card
Key:no change. A-flat major is confirmed by the played triad, the harmony third (C over B fourteen to one), and the voice (sung C, never B).
State the extended harmony: the verse is an A-flat major-9 with a 6th, the chorus a D-flat major-7 (the IV). Both home chords carry a sung major seventh. Not a plain triad.
The melody floats above the chord: the voice centers on the 6th (F) and the major 7th (G), not the root or third, the most open vocal placement on the album.
Re-frame the bridge sidecar: change "B-flat home, flat-III" to A-flat home, III lift. The bridge's C-major zone is a chromatic III, the song's brightest moment.
Keep the bridge facts: the bass-out interlude, the E pedal, the C/E voicing, and the bar-60 chromatic bass walk are all verified, only the key frame changes.
Honesty note: MIDI-only pass, no stems. A Moises-stem check would harden the call, as done for the disputed five.