[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:blame-it-on-my-youth":3},"title: Blame It on My Youth\ncomposer: Oscar Levant\nstyle: Ballad\nkey: Eb\nform: AB, 32 bars\nrecording: Keith Jarrett Trio; The Cure; ECM; 1991\nyoutube: pMXCs4Q_EfU\n# analysis: 2026-10-19, rules v2; Eb\n# recording: recorded live 1990-04-21, Town Hall, NYC, Keith Jarrett with Gary Peacock and Jack DeJohnette, ECM 1440; songbook standard (1934) with no single reference → the trio reading jazz players know best, over Sinatra's Close to You (1957) and Jarrett's own solo version (The Melody at Night, With You, 1999) (Wikipedia); video: \"Provided to YouTube by Universal Music Group\", The Cure, the same performance\n\n# bar | chord\n\nsection: A\n1  | EbMaj7   # tonic: the 4th is in the key\n1  | Fm7      # ii: Dorian, the key’s own notes\n2  | Gm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | Cm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Fm7      # ii: Dorian, the key’s own notes\n3  | Edim7    # vii°7 of Fm7: C7♭9 without its root\n4  | Fm7      # ii of Bb7: Dorian\n4  | Bb7      # V7\u002FI in Eb: natural tensions\n5  | Fm       # ii: Dorian, the key’s own notes\n5  | Edim7    # vii°7 of Fm7: C7♭9 without its root\n6  | Fm7      # ii of Bb7: Dorian\n6  | Bb7      # V7\u002FI in Eb: natural tensions\n7  | Gm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | Fm7      # ii of the ii–V to Eb\n7  | Bb7      # V7 of Eb: natural tensions\n8  | EbMaj7   # tonic: the 4th is in the key\n8  | Eb7sus4  # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | Eb7      # V7\u002FIV in Eb: natural tensions\n9  | AbMaj7   # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n9  | Bb7      # V7 in Eb, not resolving: natural tensions\n10 | Gm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | Cm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n11 | Fm7      # ii of the ii–V to Eb\n11 | Bb7      # V7 of Eb: natural tensions\n12 | EbMaj7   # tonic: the 4th is in the key\n13 | Dm7b5    # iiø7 of C minor: Locrian, the key's own notes (its ♭2 is a passing note)\n13 | G7       # V7\u002Fvi in Eb: b9 and b13 are in the key\n14 | Cm       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n15 | AbMaj7   # IV: the #4 is the key’s 7th\n15 | C7       # extended dominant: V7 of F7\n16 | F7       # extended dominant: V7 of Bb7sus4\n16 | Bb7sus4  # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n16 | Bb7      # V7 of Eb: natural tensions\n\nsection: B\nbars: 16\n1  | EbMaj7   # tonic: the 4th is in the key\n1  | Fm7      # ii: Dorian, the key’s own notes\n2  | Gm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | Cm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Fm7      # ii: Dorian, the key’s own notes\n3  | Edim7    # vii°7 of Fm7: C7♭9 without its root\n4  | Fm7      # ii of Bb7: Dorian\n4  | Bb7      # V7\u002FI in Eb: natural tensions\n5  | Fm       # ii: Dorian, the key’s own notes\n5  | Edim7    # vii°7 of Fm7: C7♭9 without its root\n6  | Fm7      # ii of Bb7: Dorian\n6  | Bb7      # V7\u002FI in Eb: natural tensions\n7  | Gm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | Fm7      # ii of the ii–V to Eb\n7  | Bb7      # V7 of Eb: natural tensions\n8  | EbMaj7   # tonic: the 4th is in the key\n8  | Eb7sus4  # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | Eb7      # V7\u002FIV in Eb: natural tensions\n9  | AbMaj7   # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n9  | Bb7      # V7 in Eb, not resolving: natural tensions\n10 | Gm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | Cm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n11 | Fm7      # ii: Dorian, the key’s own notes\n11 | Fm7\u002FEb   # ii: Dorian, the key’s own notes\n12 | Db9#11   # tritone substitute: resolves down a half step to C7\n12 | C7       # V7\u002Fii in Eb: the b13 is in the key\n13 | Fm7      # ii: Dorian, the key’s own notes\n13 | Edim7    # vii°7 of Fm7: C7♭9 without its root\n14 | Fm7      # ii of the ii–V to Eb\n14 | Bb7      # V7 of Eb: natural tensions\n15 | Eb6      # tonic: the 4th is in the key\n# alt (optional): bars 15–16 (Cm7 | Fm7 Bb7), a turnaround after the Eb6\n",1793484798172]