[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:good-morning-heartache":3},"title: Good Morning Heartache\ncomposer: Irene Higginbotham\nstyle: Medium ballad\nkey: F\nform: AABA, 32 bars\nrecording: Billie Holiday; The Lady Sings; Decca; 1956\nyoutube: krZnoHuyCE8\n# analysis: 2026-10-19, rules v2; F\n# recording: recorded 1946-01-22, NYC, Billie Holiday with Bill Stegmeyer's Orchestra (Joe Guy, Tiny Grimes, Sidney Catlett), produced by Milt Gabler; first issued on 78 (Decca 23673, with No Good Man), first LP Decca DL 8215 (1956); written for Holiday → hers is the reference; sources: jazzdisco; video: \"Provided to YouTube by Universal Music Group\", The Lady Sings, the same take\n\n# bar | chord\n\nsection: A\n# area: F major (A 1 – B 2)\n1  | Cm           # a borrowed minor chord: Dorian, its own key\n1  | Ab\u002FC         # ♭III, borrowed from F minor: Lydian (its ♯11 is in the key)\n2  | Cm6          # a minor sixth chord: Dorian\n2  | Cm7          # a borrowed minor chord: Dorian, its own key\n3  | FMaj7        # tonic: the 4th is in the key\n3  | BbMaj7       # IV: the #4 is the key’s 7th\n4  | Am7b5       |  | iiø7\u002Fii  # * iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | Eb7          # tritone substitute: resolves down a half step to D7\n4  | D7           # V7\u002Fii in F: the b13 is in the key\n5  | Gm7          # ii: Dorian, the key’s own notes\n5  | BbmMaj7      # from the symbol: minor-major 7th\n5  | Eb9          # extended ii–V: a side-step, its own key\n6  | Am7          # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Abm7         # ii of Db9: Dorian\n6  | Db9          # extended ii–V: a side-step, its own key\n7  | Gm7          # ii of the ii–V to F\n7  | C7#5#9       # V7 of F: b9, #9, #11 and b13 from the symbol\n8  | FMaj7        # tonic: the 4th is in the key\n9  | Cm           # a borrowed minor chord: Dorian, its own key\n9  | Ab\u002FC         # ♭III, borrowed from F minor: Lydian (its ♯11 is in the key)\n10 | Cm6          # a minor sixth chord: Dorian\n10 | Cm7          # a borrowed minor chord: Dorian, its own key\n11 | FMaj7        # tonic: the 4th is in the key\n11 | BbMaj7       # IV: the #4 is the key’s 7th\n12 | Am7b5       |  | iiø7\u002Fii  # * iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n12 | Eb7          # tritone substitute: resolves down a half step to D7\n12 | D7           # V7\u002Fii in F: the b13 is in the key\n13 | Gm7          # ii: Dorian, the key’s own notes\n13 | BbmMaj7      # from the symbol: minor-major 7th\n13 | Eb9          # extended ii–V: a side-step, its own key\n14 | Am7          # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | Abm7         # ii of Db9: Dorian\n14 | Db9          # extended ii–V: a side-step, its own key\n15 | Gm7          # ii of C7#5#9: Dorian\n15 | C7#5#9       # V7\u002FI in F: b9, #9, #11 and b13 from the symbol\n15 | C7#5         # V7 of F: #11 and b13 from the symbol\n16 | F6           # tonic: the 4th is in the key\n\nsection: B\n1  | Em7(add11)   # ii of the ii–V to D minor\n1  | A7#5#9       # V7\u002Fvi in F: the b13 is in the key, b9, #9 and #11 from the symbol\n2  | Dm6          # a minor sixth chord: Dorian\n# area: D major (B 3–4)\n3  | Em7(add11)   # ii of the ii–V to D\n3  | A7           # V7 of D: natural tensions\n4  | DMaj7        # tonic: the 4th is in the key\n# area: C major (B 5–7)\n5  | Dm7(add11)   # ii of the ii–V to C\n5  | G7#5#9       # V7 of C: b9, #9, #11 and b13 from the symbol\n6  | CMaj7        # tonic: the 4th is in the key\n7  | C#m7(add11)  # ii of F#7: Dorian\n7  | F#7          # extended ii–V: a side-step, its own key\n# area: F major (B 8 – C 8)\n8  | Cm7(add11)   # ii of F7: Dorian\n8  | F7           # V7\u002FIV in F: natural tensions\n\nsection: C\n1  | Cm           # a borrowed minor chord: Dorian, its own key\n1  | Ab\u002FC         # ♭III, borrowed from F minor: Lydian (its ♯11 is in the key)\n2  | Cm6          # a minor sixth chord: Dorian\n2  | Cm7          # a borrowed minor chord: Dorian, its own key\n3  | FMaj7        # tonic: the 4th is in the key\n3  | BbMaj7       # IV: the #4 is the key’s 7th\n4  | Am7b5       |  | iiø7\u002Fii  # * iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | Eb7          # tritone substitute: resolves down a half step to D7\n4  | D7           # V7\u002Fii in F: the b13 is in the key\n5  | Gm7          # ii: Dorian, the key’s own notes\n5  | BbmMaj7      # from the symbol: minor-major 7th\n5  | Eb9          # extended ii–V: a side-step, its own key\n6  | Am7          # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Abm7         # ii of Db9: Dorian\n6  | Db9          # extended ii–V: a side-step, its own key\n7  | Gm7          # ii of the ii–V to F\n7  | C13          # V7 of F: natural tensions\n8  | F6           # tonic: the 4th is in the key\n",1793484799920]