[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:these-foolish-things":3},"title: These Foolish Things\naka: These Foolish Things Remind Me of You\ncomposer: Jack Strachey, Harry Link\nstyle: Medium ballad\nkey: Eb\nform: AABA, 32 bars\nrecording: Billie Holiday; Billie Holiday Sings; Clef; 1952\nyoutube: bYe-5sIHSzc\n# analysis: 2026-10-19, rules v2; Eb\n# recording: recorded 1952-03-26, Radio Recorders, Los Angeles, with Charlie Shavers, Flip Phillips, Oscar Peterson, Barney Kessel, Ray Brown, Alvin Stoller; 10\" Mercury\u002FClef MGC-118, reissued on Solitude (Clef MGC-690, 1956); songbook standard → Lester Young's 1945 Aladdin side is the jazz landmark, but its first LP couldn't be confirmed, so Holiday's well-documented LP reading (Monk's trio, Prestige, 1953, is the other choice); sources: jazzdisco, MusicBrainz, Wikipedia; video: \"Provided to YouTube by Universal Music Group\", Solitude, the same take\n# the book's letters: A (16 bars, the two A's), B, C (the last A)\n# alt (for soloing): A bars 4 and 12 and C bar 4 (Cm9 F9 Bm9 E9)\n\n# bar | chord\n\nsection: A\n# area: Eb major (A 1–16)\n1  | EbMaj7   # tonic: the 4th is in the key\n1  | Cm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | Fm9      # ii of the ii–V to Eb\n2  | Bb7      # V7 of Eb: natural tensions\n3  | EbMaj7   # tonic: the 4th is in the key\n3  | Cm7      # ii of F9: Dorian\n4  | F9       # V7 of V7: the dominant of the dominant: natural tensions\n4  | Bb7      # extended dominant: V7 of Eb9sus4\n5  | Eb9sus4  # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n5  | Eb9      # V7\u002FIV in Eb: natural tensions\n# alt: bar 5, beat 4 (A9#11)\n6  | AbMaj7   # the Eb9 before it makes Ab the key of the moment: the 4th is in the key\n6  | G7#5     # extended dominant: V7 of C7#5; #11 and b13 from the symbol\n6  | C7#5     # extended dominant: V7 of F9; #11 and b13 from the symbol\n7  | F9       # II7 in Eb, not resolving: natural tensions\n8  | Fm7      # ii of the ii–V to Eb\n8  | Bb7      # V7 of Eb: natural tensions\n9  | EbMaj7   # tonic: the 4th is in the key\n9  | Cm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n10 | Fm9      # ii of the ii–V to Eb\n10 | Bb7      # V7 of Eb: natural tensions\n11 | EbMaj7   # tonic: the 4th is in the key\n11 | Cm7      # ii of F9: Dorian\n12 | F9       # V7 of V7: the dominant of the dominant: natural tensions\n12 | Bb7      # extended dominant: V7 of Eb9sus4\n13 | Eb9sus4  # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n13 | Eb9      # V7\u002FIV in Eb: natural tensions\n# alt: bar 13, beat 4 (A9#11)\n14 | AbMaj7   # the Eb9 before it makes Ab the key of the moment: the 4th is in the key\n14 | G7#5     # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n14 | C7#5     # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n15 | F9       # V7 of V7: the dominant of the dominant: natural tensions\n15 | Bb7      # V7 of Eb: natural tensions\n16 | Eb6      # tonic: the 4th is in the key\n16 | Am7b5    # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n16 | D7       # V7\u002Fiii in Eb: b9 and b13 are in the key\n\nsection: B\nkey: Gm\n# area: G minor (B 1–3)\n1  | Gm       # tonic minor: Dorian by convention\n# alt: bar 1, beats 3–4 (Em7b5)\n2  | Am7b5    # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | D7       # V7 of G minor: b9 and b13 are in the key\n3  | Gm       # tonic minor: Dorian by convention\n3  | GmMaj7   # from the symbol: minor-major 7th\n3  | Gm7      # ii of C9: Dorian\n@key 4 Bb\n# area: Bb major (B 4–7)\n4  | C9       # V7 of V7: the dominant of the dominant: natural tensions\n4  | F13      # V7 of Bb: natural tensions\n5  | BbMaj7   # tonic: the 4th is in the key\n5  | Gm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | Cm7      # ii of F7: Dorian\n6  | F7       # extended dominant: V7 of Bb7\n7  | Bb7      # I7 in Bb, not resolving: natural tensions\n7  | Edim7    # vii°7 of Fm7: C7♭9 without its root\n@key 8 Eb\n# area: Eb major (B 8 – C 8)\n8  | Fm7      # ii of the ii–V to Eb\n8  | Bb7      # V7 of Eb: natural tensions\n\nsection: C\nkey: Eb\n1  | EbMaj7   # tonic: the 4th is in the key\n1  | Cm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | Fm9      # ii of the ii–V to Eb\n2  | Bb7      # V7 of Eb: natural tensions\n3  | EbMaj7   # tonic: the 4th is in the key\n3  | Cm7      # ii of F9: Dorian\n4  | F9       # V7 of V7: the dominant of the dominant: natural tensions\n4  | Bb7      # extended dominant: V7 of Eb9sus4\n5  | Eb9sus4  # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n5  | Eb9      # V7\u002FIV in Eb: natural tensions\n# alt: bar 5, beat 4 (A9#11)\n6  | AbMaj7   # the Eb9 before it makes Ab the key of the moment: the 4th is in the key\n6  | G7#5     # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n6  | C7#5     # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n7  | F9       # V7 of V7: the dominant of the dominant: natural tensions\n7  | Bb7      # V7 of Eb: natural tensions\n8  | Eb6      # tonic: the 4th is in the key\n# alt: bar 8, beats 3–4 (Fm7 Bb7)\n",1793484804010]