[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:you-make-me-feel-so-young":3},"title: You Make Me Feel So Young\ncomposer: Josef Myrow\nstyle: Medium Swing\nkey: Bb\nform: AABC, 40 bars\n# analysis: 2026-10-31, rules v2; Bb\n\nsection: A1\n1  | BbMaj7  # tonic: the 4th is in the key\n1  | Bdim7   # vii°7 of Cm7: G7♭9 without its root\nalt 1  | BbMaj7  # tonic: the 4th is in the key\nalt 1  | G7b9#5  # V7\u002Fii in Bb: the b13 is in the key, b9 and #11 from the symbol\n2  | Cm7     # ii of the ii–V to Bb\n2  | F7      # V7 of Bb: natural tensions\nalt 2  | Cm7     # ii: Dorian, the key’s own notes\nalt 2  | C#dim7  # vii°7 of Dm7: A7♭9 without its root\n3  | BbMaj7  # tonic: the 4th is in the key\n3  | Bdim7   # vii°7 to Fm7\u002FC, up to its bass: G7♭9 without its root\nalt 3  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\nalt 3  | G7#5    # tritone substitute: resolves down a half step to Gb9; b13 from the symbol\n4  | Fm7\u002FC   # a borrowed minor chord: Dorian, its own key\n4  | F7      # V7 of Bb: natural tensions\nalt 4  | Gb9     # tritone substitute: resolves down a half step to F7\nalt 4  | F7      # V7 of Bb: natural tensions\n5  | BbMaj7  # tonic: the 4th is in the key\n5  | Bb7     # V7\u002FIV in Bb: natural tensions\nalt 5  | BbMaj7  # tonic: the 4th is in the key\nalt 5  | E7b5    # tritone substitute: resolves down a half step to EbMaj7\n6  | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n6  | Eb6     # IV: the #4 is the key’s 7th\nalt 6  | EbMaj7  # the E7b5 before it makes Eb the key of the moment: the 4th is in the key\nalt 6  | Edim7   # ♯IV°7 to I over its 5th: A7♭9 without its root, the ♯II°7's notes\n7  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | Dbdim7  # passing diminished: C7♭9 without its C, the F7's dominant (Cm7 its ii)\nalt 7  | Bb6\u002FF   # tonic: the 4th is in the key\nalt 7  | G7#5    # V7\u002Fii in Bb: the b13 is in the key, the #11 from the symbol\n8  | Cm7     # ii of the ii–V to Bb\n8  | F7      # V7 of Bb: natural tensions\n\nsection: A2\ncopy: A1\n\nsection: B\n1  | Fm7     # ii of Bb7: Dorian\n2  | Bb7     # V7\u002FIV in Bb: natural tensions\n3  | Fm7     # ii of Bb7: Dorian\n4  | Bb7     # V7\u002FIV in Bb: natural tensions\n5  | Am7b5   # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\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)\n7  | Cm7     # ii of the ii–V to Bb\n8  | F7      # V7 of Bb: natural tensions\n\nsection: C\n1  | BbMaj7  # tonic: the 4th is in the key\n1  | Bdim7   # vii°7 of Cm7: G7♭9 without its root\nalt 1  | BbMaj7  # tonic: the 4th is in the key\nalt 1  | G7b9#5  # V7\u002Fii in Bb: the b13 is in the key, b9 and #11 from the symbol\n2  | Cm7     # ii of the ii–V to Bb\n2  | F7      # V7 of Bb: natural tensions\nalt 2  | Cm7     # ii: Dorian, the key’s own notes\nalt 2  | C#dim7  # vii°7 of Dm7: A7♭9 without its root\n3  | BbMaj7  # tonic: the 4th is in the key\n3  | Bdim7   # vii°7 to Fm7\u002FC, up to its bass: G7♭9 without its root\nalt 3  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\nalt 3  | G7#5    # tritone substitute: resolves down a half step to Gb9; b13 from the symbol\n4  | Fm7\u002FC   # a borrowed minor chord: Dorian, its own key\n4  | F7      # extended dominant: V7 of Bb7\nalt 4  | Gb9     # tritone substitute: resolves down a half step to F7\nalt 4  | F7      # extended dominant: V7 of Bb7\n5  | Bb7     # V7\u002FIV in Bb: natural tensions\n6  | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n6  | Ebm6    # a minor sixth chord: Dorian\nalt 6  | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\nalt 6  | Ab9     # ♭VII7 from the parallel minor: Lydian Dominant\n7  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | G7      # V7\u002Fii in Bb: the b13 is in the key\nalt 7  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\nalt 7  | G7      # extended ii–V: a side-step, its own key\n8  | Cm7     # ii of F7: Dorian\n8  | F7      # V7\u002FI in Bb: natural tensions\nalt 8  | G7b9    # VI7 in Bb, not resolving: the b13 is in the key, the b9 from the symbol\nalt 8  | F7      # V7 in Bb, not resolving: natural tensions\n9  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n9  | G7      # V7\u002Fii in Bb: the b13 is in the key\nalt 9  | Cm7     # ii: Dorian, the key’s own notes\nalt 9  | G7      # V7 of the Cm7 before it: the b13 is in the key\n10 | Cm7     # ii of F7: Dorian\n10 | F7      # V7\u002FI in Bb: natural tensions\nalt 10 | F7      # extended dominant: V7 of Bb9\nalt 10 | F7\n11 | D7#5    # III7 in Bb, not resolving: b9 and b13 are in the key, the #11 from the symbol\n11 | Ab7#11  # tritone substitute: resolves down a half step to G7b9\nalt 11 | Bb9     # I7 in Bb, not resolving: natural tensions\nalt 11 | Ab7#11  # tritone substitute: resolves down a half step to G7b9\n12 | G7b9    # V7\u002Fii in Bb: the b13 is in the key, the b9 from the symbol\n13 | Cm7     # ii of F7sus: Dorian\n14 | F7sus   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n14 | F7      # V7 of Bb: natural tensions\n15 | Bb6     # tonic: the 4th is in the key\n15 | Gm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n16 | Cm7     # ii of the ii–V to Bb\n16 | F7      # V7 of Bb: natural tensions\n",1793575906106]