InAll The Things You Are, we are dealing with a beauty, not only of a song but also of a challenge. For well over 20 years, we were conscious of the problem, harmonies which wandered into sharper keys, making the return after the bridge awkward and painful, but totally incapable of finding a solution. Comments, actually bitter criticism, poured in, concerning the alternate version presented in the Revised Page. One criticism actually led us to finding a second solution, much more "masculine (YANG)" than the rather "feminine" (YIN) first solution. A debate ensued concerning the relative merits of the original and of the 2 possibilities of correction.

InStardust, we are dealing with another icon, a "classic", whose popularity remains undiminished after all these years. A completely different problem here. Over a perfectly structured chord pattern, even if it starts rather unexpectedly on a chord ofIV, the melody wanders in a recitativo randomness, rather than in the more structured song form. This is probably due to the lyrics which are in prose rather than in verse. It is one thing to analyze this song, and quite another, far more difficult, to offer valid suggestions.

InCharade, we find more problems of rhythm, but of a completely different nature.We are dealing here with what we callrhymes, whether the end of a phrase has a "masculine rhyme" (indicatedM), which has a closing effect, placed at the end of a Consequent, or a "feminine rhyme" (indicatedF, possiblyF-,F=, orF+), which remains (more or less) open, placed at the end of an Antecedent. To a problem of rhymes, havingMfollowed byF, will be added that ofSplit Cells, and of the ensuing incompatibility. The solution seems fairly evident here.

In theSecond Movement of the New World Symphony (5 or 9), by Antonin Dvoràk, 1893, we ask ourselves "What key are we in ?" The first four bars are not that easy to analyze.