would it be possible to analyze this great gershwin classic on this site?                 thanx charlie
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what do you mean 'analyze'?
charlie  

this site has analysis of someone to watch over me and about 150 other standards.

https://www.jazzstandards.com/

bro'
musical analysis of “someone to watch over me”
  
original key eb major  
form a – a – b – a  
tonality major throughout  
movement “a” is a rising pentatonic scale, descending in a step-wise pattern before ending by leaping up a fifth and down an octave. “b” is primarily step-wise with some upward and downward skips.  
comments     (assumed background)
  
the “a” section displays an interesting example of a standard chord progression used in an unusual way, and it is a virtual showcase, demonstrating the usefulness of the vii˚ chord. every other chord in this initial progression is preceded by a vii˚ that includes the melody note, making for a smooth transition. the surprise comes at the end of “a,” when the ii-vii˚-iv sequence resolves not to i, as the ear might expect, but to vi (in the original key, c minor). from there it completes the cycle of ii – v7 –i. the tricky part of the tune is here; because of the following i – vi – ii –v7 turnaround, gershwin adds an extra measure, thus creating a nine-bar phrase instead of the usual eight bars. it is important to listen and count at this point, because the overwhelming tendency is to go back to the rising pentatonic lead-in to the second “a” in measure eight, instead of measure nine where it belongs. (this does not happen at the end of the second “a”.)  

the same holds true in the “b” section; because the harmonic progression requires eight full measures to complete, “b” contains an extra measure for the lead-in to the last “a”. the best recommendation here is to simply “read the ink” until the nine-measure phrases are comfortable.
re - www.jazzstandards.com/ - this site will be very useful to me - thanks.
the digital transposition does not sound the same as the transposition on the actual instrument, 7.
your proof is not valid.

people can somehow sense differences between different keys and pitches.  maybe they don't know how, or how to explain it "scientifically", but they can.  otherwise there would be no such thing as perfect pitch.
dear bro thanks so much for your insightful analysis of someone to watch.  i am assuming vii&#7 means a d half dim with a # 7 and 3 =g? but what then is 0?  eb is  then the 4 which is ab? sorry to bother you thanks charlie
do you have a copy of the score or fake sheets so i can follow your analysis?
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