[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:have-you-met-miss-jones":3},"title: Have You Met Miss Jones\ncomposer: Richard Rodgers\nstyle: Medium up\nkey: F\nform: AABC\nrecording: Ella Fitzgerald; Ella Fitzgerald Sings the Rodgers & Hart Song Book; Verve; 1956\nyoutube: 9y28DLdokR8\n# analysis: 2026-10-19, rules v2; F\n# recording: recorded August 1956, with Buddy Bregman & His Orchestra, Verve MG V-4002-2; songbook standard (I'd Rather Be Right, 1937) → Ella's reading as the reference; no instrumental is clearly canonical; sources: Wikipedia; video: \"Provided to YouTube by Universal Music Group\", the album track, the same take\n\n# bar | chord | scale\n\nsection: A1\n# area: F major (A1 1 – B 1)\n1 | FMaj7   # tonic: the 4th is in the key\n1 | Bb7     # tritone substitute: resolves down a half step to Am7\n2 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | D7b9    # V7\u002Fii in F: the b13 is in the key, the b9 from the symbol\n3 | Gm7     # ii of C7: Dorian\n4 | C7      # V7\u002FI in F: natural tensions\n5 | Am      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | Dm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7 | Abm7    # ii of Db7: Dorian\n7 | Db7     # extended ii–V: a side-step, its own key\n8 | Gm7     # ii of the ii–V to F\n8 | C7      # V7 of F: natural tensions\n\nsection: A2\n1 | FMaj7   # tonic: the 4th is in the key\n1 | Bb7     # tritone substitute: resolves down a half step to Am7\n2 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | D7b9    # V7\u002Fii in F: the b13 is in the key, the b9 from the symbol\n3 | Gm7     # ii of C7: Dorian\n4 | C7      # V7\u002FI in F: natural tensions\n5 | Am      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | Dm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7 | Cm7     # ii of the ii–V to Bb\n8 | F7      # V7\u002FIV in F: natural tensions\n\nsection: B\n1 | BbMaj7  # the F7 before it makes Bb the key of the moment: the 4th is in the key\n1 | A7alt   # from the symbol: altered\n# area: Gb major (B 2–3)\n2 | Abm7    # ii of the ii–V to Gb\n2 | Db7     # V7 of Gb: natural tensions\n3 | GbMaj7  # tonic: the 4th is in the key\n3 | F7alt   # from the symbol: altered\n# area: D major (B 4–5)\n4 | Em7     # ii of the ii–V to D\n4 | A7      # V7 of D: natural tensions\n5 | DMaj7   # tonic: the 4th is in the key\n# area: Gb major (B 6–7)\n6 | Abm7    # ii of the ii–V to Gb\n6 | Db7     # V7 of Gb: natural tensions\n7 | GbMaj7  # tonic: the 4th is in the key\n# area: F major (B 8 – C 8)\n8 | Gm7     # ii of the ii–V to F\n8 | C7      # V7 of F: natural tensions\n\nsection: C\n1 | FMaj7   # tonic: the 4th is in the key\n1 | Bb7     # tritone substitute: resolves down a half step to Am7\n2 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | D7b9    # V7\u002Fii in F: the b13 is in the key, the b9 from the symbol\n3 | Gm7     # ii: Dorian, the key’s own notes\n4 | Bm7b5   # #ivø7 in F: Locrian, its own mode (the chord is outside the key)\n4 | Bb7     # tritone substitute: resolves down a half step to Am7\n5 | Am7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5 | D7      # V7\u002Fii in F: the b13 is in the key\n6 | Gm7     # ii of the ii–V to F\n6 | C7      # V7 of F: natural tensions\n7 | FMaj7   # tonic: the 4th is in the key\n8 | Gm7     # ii of the ii–V to F\n8 | C7      # V7 of F: natural tensions\n",1793484800002]