[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:my-foolish-heart":3},"title: My Foolish Heart\ncomposer: Victor Young\nstyle: Ballad\nkey: Bb\nform: ABAC, 32 bars\n# analysis: 2026-10-31, rules v2; Bb\n\nsection: A1\n1 | BbMaj7  # tonic: the 4th is in the key\n1 | EbMaj7  # IV: the #4 is the key’s 7th\n2 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | G7      # V7\u002Fii in Bb: the b13 is in the key\n3 | Cm7     # ii: Dorian, the key’s own notes\n4 | Em7     # ii of A7b9: Dorian\n4 | A7b9    # extended ii–V: a side-step, its own key; b9 from the symbol\nalt 4 | F7      # V7\u002FI in Bb: natural tensions\nalt 4 | A7b9    # VII7 in Bb, not resolving: b9 and b13 are in the key\n5 | BbMaj7  # tonic: the 4th is in the key\n5 | D7#9    # V7\u002Fvi in Bb: the b13 is in the key, b9, #9 and #11 from the symbol\n6 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\nalt 6 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\nalt 6 | Db7     # tritone substitute: resolves down a half step to Cm7\n7 | Cm7     # ii of the ii–V to Bb\n8 | Cm7\n8 | F7b9    # V7 of Bb: the b9 from the symbol\n\nsection: B\n1 | BbMaj7  # tonic: the 4th is in the key\n2 | Fm7     # ii of the ii–V to Eb\n2 | Bb7     # V7\u002FIV in Bb: natural tensions\n3 | Eb6     # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n4 | Am7b5   # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4 | D7b9    # V7\u002Fvi in Bb: b9 and b13 are in the key\n5 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | D7b13   # V7\u002Fvi in Bb: b9 and b13 are in the key\n6 | Gm7     # ii of C7: Dorian\n6 | C7      # V7\u002FV in Bb: natural tensions\n7 | Cm7     # ii: Dorian, the key’s own notes\n7 | G7      # V7\u002Fii in Bb: the b13 is in the key\n8 | Cm7     # ii of the ii–V to Bb\n8 | F7      # V7 of Bb: natural tensions\n\nsection: A2\n1 | BbMaj7  # tonic: the 4th is in the key\n1 | EbMaj7  # IV: the #4 is the key’s 7th\n2 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | G7      # V7\u002Fii in Bb: the b13 is in the key\n3 | Cm7     # ii: Dorian, the key’s own notes\n4 | Em7     # ii of A7b9: Dorian\n4 | A7b9    # extended ii–V: a side-step, its own key; b9 from the symbol\nalt 4 | F7      # V7\u002FI in Bb: natural tensions\nalt 4 | A7b9    # VII7 in Bb, not resolving: b9 and b13 are in the key\n5 | BbMaj7  # tonic: the 4th is in the key\n5 | D7b9    # V7\u002Fvi in Bb: b9 and b13 are in the key\n6 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\nalt 6 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\nalt 6 | Db7     # tritone substitute: resolves down a half step to Cm7\n7 | Cm7     # ii: Dorian, the key’s own notes\n7 | Cm7\u002FBb  # ii: Dorian, the key’s own notes\n8 | Am7b5   # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n8 | D7b9    # V7\u002Fvi in Bb: b9 and b13 are in the key\n\nsection: C\n1 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2 | Ebm7    # ii of Ab7: Dorian\n2 | Ab7     # back door bVII7 to BbMaj7: the #11 is in the key\n3 | BbMaj7  # tonic: the 4th is in the key\n3 | EbMaj7  # IV: the #4 is the key’s 7th\n4 | Ab7     # tritone substitute: resolves down a half step to G7\n4 | G7      # V7\u002Fii in Bb: the b13 is in the key\n5 | Cm7     # ii: Dorian, the key’s own notes\n5 | G7      # extended dominant: each one falls a fifth into the next: natural tensions\n6 | C7      # V7 of V7: the dominant of the dominant: natural tensions\n6 | F7      # V7 of Bb: natural tensions\n7 | BbMaj7  # tonic: the 4th is in the key\n7 | G7      # V7\u002Fii in Bb: the b13 is in the key\n8 | Cm7     # ii of the ii–V to Bb\n8 | F7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n",1793575896331]