[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:thinking-of-you":3},"title: Thinking of You\ncomposer: Harry Ruby\nstyle: Medium\nkey: Eb\nform: AABA, 32 bars\nrecording: Sarah Vaughan; After Hours with Sarah Vaughan; Columbia; 1955\nyoutube: c2IZiC24vbE\n# analysis: 2026-10-19, rules v2; Eb\n# recording: recorded July 1950, New York, Sarah Vaughan with Norman Leyden's orchestra (Mundell Lowe, guitar); first issued on 78 (Columbia 38925, with (I Love the Girl) I Love the Guy), first LP Columbia CL 660 (1955); songbook standard (1927, The Five O'Clock Girl) → Vaughan's reading, her most requested song per jazzstandards.com; sources give July 1, 20 or 27 for the session (Discogs, Wikipedia, jazzstandards.com); video: \"Provided to YouTube by Legacy Recordings\", After Hours, the same take\n\n# bar | chord | scale\n\nsection: A1\n1 | EbMaj7  # tonic: the 4th is in the key\n2 | Am7b5   # iiø7 of D7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | D7b9    # V7\u002Fiii in Eb: b9 and b13 are in the key\n3 | Abm7    # ii of Db7: Dorian\n3 | Db7     # extended ii–V: a side-step, its own key\n4 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | C7b9    # extended ii–V: a side-step, its own key; b9 from the symbol\n5 | F#m7    # ii of B7b9: Dorian\n5 | B7b9    # extended ii–V: a side-step, its own key; b9 from the symbol\n6 | Fm7     # ii of Bb7b9: Dorian\n6 | Bb7b9   # V7\u002FI in Eb: the b9 from the symbol\n7 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | C7b9    # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n8 | Fm7     # ii of the ii–V to Eb\n8 | Bb7b9   # V7 of Eb: the b9 from the symbol\n\nsection: A2\n1 | EbMaj7  # tonic: the 4th is in the key\n2 | Am7b5   # iiø7 of D7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | D7b9    # V7\u002Fiii in Eb: b9 and b13 are in the key\n3 | Abm7    # ii of Db7: Dorian\n3 | Db7     # extended ii–V: a side-step, its own key\n4 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | C7b9    # extended ii–V: a side-step, its own key; b9 from the symbol\n5 | F#m7    # ii of B7b9: Dorian\n5 | B7b9    # extended ii–V: a side-step, its own key; b9 from the symbol\n6 | Fm7     # ii of the ii–V to Eb\n6 | Bb7b9   # V7 of Eb: the b9 from the symbol\n7 | EbMaj7  # tonic: the 4th is in the key\n8 | Dm7b5   # iiø7 of C minor: Locrian, the key's own notes (its ♭2 is a passing note)\n8 | G7alt   # from the symbol: altered\n\nsection: B\n1 | Cm      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | Gm      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5 | Bbm7    # ii of the ii–V to Ab\n5 | Eb7     # V7\u002FIV in Eb: natural tensions\n6 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n7 | Dm7b5   # iiø7 of G7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n7 | G7b9    # V7\u002Fvi in Eb: b9 and b13 are in the key\n8 | Db7#11  # back door bVII7 to EbMaj7: the #11 is in the key\n\nsection: A3\nbars: 8\n1 | EbMaj7  # tonic: the 4th is in the key\n2 | Am7b5   # iiø7 of D7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n2 | D7b9    # V7\u002Fiii in Eb: b9 and b13 are in the key\n3 | Abm7    # ii of Db7: Dorian\n3 | Db7     # extended ii–V: a side-step, its own key\n4 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4 | C7b9    # extended ii–V: a side-step, its own key; b9 from the symbol\n5 | F#m7    # ii of B7b9: Dorian\n5 | B7b9    # extended ii–V: a side-step, its own key; b9 from the symbol\n6 | Fm7     # ii of the ii–V to Eb\n6 | Bb7b9   # V7 of Eb: the b9 from the symbol\n7 | EbMaj7  # tonic: the 4th is in the key\n",1793484804022]