[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:baubles-bangles-and-beads":3},"title: Baubles, Bangles and Beads\nsubtitle: Jazz waltz\ncomposer: Borodin, Wright & Forrest\nstyle: Waltz\nkey: Ab\ntime: 3\u002F4\nform: ABCD, 36 bars\nrecording: Frank Sinatra and Antonio Carlos Jobim; Francis Albert Sinatra & Antonio Carlos Jobim; Reprise; 1967\nyoutube: eWAPCgWl5J8\n# analysis: 2026-10-19, rules v2; Ab\n# recording: recorded 1967-01-30 to 02-01, United Western Recorders, Hollywood, arranged and conducted by Claus Ogerman, Reprise FS-1021; show tune (Kismet, 1953; Peggy Lee's 1953 single was the hit) → the Sinatra\u002FJobim bossa reading as the best-known jazz-side version; the chart is a jazz waltz and follows no named version, and no 3\u002F4 jazz reading is clearly canonical; Sinatra's swing version on Come Dance with Me! (Capitol, 1959) is the alternative; sources: Discogs, Wikipedia; video: \"Provided to YouTube by Universal Music Group\", Sinatra\u002FJobim: The Complete Reprise Recordings, the album take\n\n# bar | chord | scale\n\nsection: A\n# area: Ab major (A 1–8)\n1  | Bbm7    # ii of the ii–V to Ab\n2  | Eb9     # V7 of Ab: natural tensions\n3  | AbMaj7  # tonic: the 4th is in the key\n4  | Fm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Cm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Bdim7   # passing diminished: Bb7♭9 without its Bb, the Eb9's dominant (Bbm7 its ii)\n5  | Bbm7    # ii of the ii–V to Ab\n6  | Eb9     # V7 of Ab: natural tensions\n7  | AbMaj7  # tonic: the 4th is in the key\n8  | Ab6     # tonic: the 4th is in the key\n\nsection: B\n# area: C major (B 1–8)\n1  | Dm7     # ii of the ii–V to C\n2  | G9      # V7 of C: natural tensions\n3  | CMaj7   # tonic: the 4th is in the key\n4  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Ebdim7  # passing diminished: D7♭9 without its D, the G9's dominant (Dm7 its ii)\n5  | Dm7     # ii of the ii–V to C\n6  | G9      # V7 of C: natural tensions\n7  | CMaj7   # tonic: the 4th is in the key\n8  | C6      # tonic: the 4th is in the key\n\nsection: C\n# area: E major (C 1–5)\n1  | F#m7    # ii of the ii–V to E\n2  | B9      # V7 of E: natural tensions\n3  | EMaj7   # tonic: the 4th is in the key\n4  | Bb9#11  # tritone substitute: resolves down a half step to AMaj7\n5  | AMaj7   # the Bb9#11 before it makes A the key of the moment: the 4th is in the key\n# area: Ab major (C 6 – D 11)\n6  | Bbm11   # ii of the ii–V to Ab\n6  | Eb7     # V7 of Ab: natural tensions\n7  | AbMaj7  # tonic: the 4th is in the key\n8  | Cm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | Bm11    # a borrowed minor chord: Dorian, its own key\n\nsection: D\nbars: 12\n1  | Bbm7    # ii of the ii–V to Ab\n2  | Eb9     # V7 of Ab: natural tensions\n3  | AbMaj7  # tonic: the 4th is in the key\n4  | Cm7b5   # iiø7 of Bb minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | F7alt   # from the symbol: altered\n5  | Bbm7    # ii of Eb9: Dorian\n6  | Eb9     # V7\u002FI in Ab: natural tensions\n7  | Cm7b5   # iiø7 of Bb minor: Locrian, the key's own notes (its ♭2 is a passing note)\n8  | F7alt   # from the symbol: altered\n9  | Bbm9    # ii of the ii–V to Ab\n10 | Eb9     # V7 of Ab: natural tensions\n11 | AbMaj7  # tonic: the 4th is in the key\n",1793484797923]