[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:one-for-my-baby":3},"title: One for My Baby\naka: One for My Baby (and One More for the Road)\ncomposer: Harold Arlen\nstyle: Medium ballad\nkey: Eb\nform: ABCD, 57 bars\nrecording: Frank Sinatra; Frank Sinatra Sings for Only the Lonely; Capitol; 1958\n# analysis: 2026-10-19, rules v2; Eb\n# recording: recorded June 1958 (album sessions May 29, June 24 and 26) with Bill Miller (piano) and Nelson Riddle's orchestra; chart follows no named version; songbook standard: Sinatra's saloon-song reading on Only the Lonely is the reference version jazz players and singers learn it from, over Fred Astaire's film introduction (The Sky's the Limit, 1943); Capitol, released 1958-09-08; sources: Wikipedia\n# book: Medium Ballad. A is in Eb; B, C and D are in G\n# book: alternate changes (in parentheses) are played on beat 3 (or beats 3 and 4) of the bars in which they appear\n# book: at letter C, Gm11 may be substituted for C9sus\n# the book's 13sus chords are written 9sus4 (D13sus → D9sus4)\n\n# bar | chord\n\nsection: A\n# area: Eb major (A 1–15)\n1  | EbMaj7   # tonic: the 4th is in the key\n1  | Bbm7     # a borrowed minor chord: Dorian, its own key\n# alt: bar 1, beat 3 (Fm7)\n2  | EbMaj7   # tonic: the 4th is in the key\n2  | Fm7      # ii of the ii–V to Eb\n2  | Bb7      # V7 of Eb: natural tensions\n3  | EbMaj7   # tonic: the 4th is in the key\n3  | Bbm7     # a borrowed minor chord: Dorian, its own key\n# alt: bar 3, beat 3 (Fm7)\n4  | EbMaj7   # tonic: the 4th is in the key\n4  | Bbm7     # a borrowed minor chord: Dorian, its own key\n# alt: bar 4, beats 3–4 (Fm7 Bb7)\n5  | EbMaj7   # tonic: the 4th is in the key\n5  | Bbm7     # a borrowed minor chord: Dorian, its own key\n# alt: bar 5, beat 3 (Fm7)\n6  | EbMaj7   # tonic: the 4th is in the key\n6  | Fm7      # ii of the ii–V to Eb\n6  | Bb7      # V7 of Eb: natural tensions\n7  | EbMaj7   # tonic: the 4th is in the key\n7  | Bbm7     # ii of the ii–V to Ab\n8  | Bbm7\n8  | Eb7      # V7\u002FIV in Eb: natural tensions\n9  | AbMaj7   # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n9  | GbMaj7   # ♭IIImaj7, borrowed from Eb minor: Lydian (its ♯11 is in the key)\n# alt: bar 9, beat 3 (Bbm7)\n10 | AbMaj7   # IV: the #4 is the key’s 7th\n10 | Db13     # back door bVII7 to EbMaj7: the #11 is in the key\n11 | EbMaj7   # tonic: the 4th is in the key\n11 | Fm7      # ii: Dorian, the key’s own notes\n12 | Gm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | Fm7      # ii: Dorian, the key’s own notes\n12 | EbMaj7   # tonic: the 4th is in the key\n# alt: bar 12, beats 3–4 (G7#5#9 C7#9)\n13 | G7#5     # V7 of C7#9#11, on the way to F minor: b9 and b13 are in the key, the #11 from the symbol\n13 | C7#9#11  # V7 of F minor, the chain's last link: b9, #9, #11 and 13 from the symbol\n14 | Fm7      # ii: Dorian, the key’s own notes\n14 | Gm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | Ab6      # IV: the #4 is the key’s 7th\n14 | Bb9sus4  # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n# book: Bb9sus\n15 | Eb6      # tonic: the 4th is in the key\n# area: G major (A 16 – D 17)\n16 | Am7b5    # iiø7 of G: Locrian, the key's own notes (its ♭2 is a passing note)\n16 | D7       # V7 of G: natural tensions\n\nsection: B\n1  | GMaj7    # tonic: the 4th is in the key\n1  | Dm7      # a borrowed minor chord: Dorian, its own key\n# alt: bar 1, beat 3 (Am7)\n2  | GMaj7    # tonic: the 4th is in the key\n2  | Am7      # ii of the ii–V to G\n2  | D7       # V7 of G: natural tensions\n3  | GMaj7    # tonic: the 4th is in the key\n3  | Dm7      # a borrowed minor chord: Dorian, its own key\n# alt: bar 3, beat 3 (Am7)\n4  | GMaj7    # tonic: the 4th is in the key\n4  | Dm7      # a borrowed minor chord: Dorian, its own key\n# alt: bar 4, beats 3–4 (Am7 D7)\n5  | GMaj7    # tonic: the 4th is in the key\n5  | Dm7      # a borrowed minor chord: Dorian, its own key\n# alt: bar 5, beat 3 (Am7)\n6  | GMaj7    # tonic: the 4th is in the key\n6  | Am7      # ii of the ii–V to G\n6  | D7       # V7 of G: natural tensions\n7  | GMaj7    # tonic: the 4th is in the key\n7  | Dm7      # ii of the ii–V to C\n8  | Dm7\n8  | G7       # V7\u002FIV in G: natural tensions\n9  | CMaj7    # the G7 before it makes C the key of the moment: the 4th is in the key\n9  | BbMaj7   # ♭IIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n# alt: bar 9, beat 3 (Dm7)\n10 | CMaj7    # IV: the #4 is the key’s 7th\n10 | F13      # back door bVII7 to GMaj7: the #11 is in the key\n11 | GMaj7    # tonic: the 4th is in the key\n11 | Am7      # ii: Dorian, the key’s own notes\n12 | Bm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | Am7      # ii: Dorian, the key’s own notes\n12 | GMaj7    # tonic: the 4th is in the key\n# alt: bar 12, beats 3–4 (B7#5#9 E7#9)\n13 | B7#5     # V7 of E7#9#11, on the way to A minor: b9 and b13 are in the key, the #11 from the symbol\n13 | E7#9#11  # V7 of A minor, the chain's last link: b9, #9, #11 and 13 from the symbol\n14 | Am7      # ii: Dorian, the key’s own notes\n14 | Bm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | C6       # IV: the #4 is the key’s 7th\n14 | D9sus4   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n# book: D9sus\n15 | G6       # tonic: the 4th is in the key\n16 | Dm7      # ii of G7: Dorian\n16 | G7       # extended dominant: V7 of C9sus4\n\nsection: C\n1  | C9sus4   # IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# book: C9sus (Gm11 may be substituted, bars 1–6)\n1  | C9       # IV7 in G, not resolving: the #11 is in the key\n2  | C9sus4   # IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2  | C9       # tritone substitute: resolves down a half step to B7#5\n3  | B7#5     # extended dominant: V7 of E7; #11 and b13 from the symbol\n3  | E7       # extended dominant: V7 of A7\n3  | A7       # extended dominant: V7 of D9sus4\n3  | D9sus4   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n# book: D9sus\n4  | G6       # tonic: the 4th is in the key\n4  | G7       # extended dominant: V7 of C9sus4\n5  | C9sus4   # IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n5  | C9       # IV7 in G, not resolving: the #11 is in the key\n6  | C9sus4   # IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6  | C9       # IV7 in G, not resolving: the #11 is in the key\n7  | A7       # II7 in G, not resolving: natural tensions\n# alt: bar 7, beats 1–2 (Gm9)\n7  | Eb9#11   # tritone substitute: resolves down a half step to D7#5\n8  | D7#5     # V7 of G: #11 and b13 from the symbol\n\nsection: D\nbars: 20\n1  | GMaj7    # tonic: the 4th is in the key\n1  | Dm7      # a borrowed minor chord: Dorian, its own key\n# alt: bar 1, beat 3 (Am7)\n2  | GMaj7    # tonic: the 4th is in the key\n2  | Am7      # ii of the ii–V to G\n2  | D7       # V7 of G: natural tensions\n3  | GMaj7    # tonic: the 4th is in the key\n3  | Dm7      # a borrowed minor chord: Dorian, its own key\n# alt: bar 3, beat 3 (Am7)\n4  | GMaj7    # tonic: the 4th is in the key\n4  | Dm7      # a borrowed minor chord: Dorian, its own key\n# alt: bar 4, beats 3–4 (Am7 D7)\n5  | GMaj7    # tonic: the 4th is in the key\n5  | Dm7      # a borrowed minor chord: Dorian, its own key\n# alt: bar 5, beat 3 (Am7)\n6  | GMaj7    # tonic: the 4th is in the key\n6  | Am7      # ii of the ii–V to G\n6  | D7       # V7 of G: natural tensions\n7  | GMaj7    # tonic: the 4th is in the key\n7  | Dm7      # ii of the ii–V to C\n8  | Dm7\n8  | G7       # V7\u002FIV in G: natural tensions\n9  | CMaj7    # the G7 before it makes C the key of the moment: the 4th is in the key\n9  | BbMaj7   # ♭IIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n# alt: bar 9, beat 3 (Dm7)\n10 | CMaj7    # IV: the #4 is the key’s 7th\n10 | F13      # back door bVII7 to GMaj7: the #11 is in the key\n11 | GMaj7    # tonic: the 4th is in the key\n11 | Am7      # ii: Dorian, the key’s own notes\n12 | Bm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | Am7      # ii: Dorian, the key’s own notes\n12 | GMaj7    # tonic: the 4th is in the key\n# alt: bar 12, beats 3–4 (B7#5#9 E7#9)\n13 | B7#5     # V7 of E7#9#11, on the way to A minor: b9 and b13 are in the key, the #11 from the symbol\n13 | E7#9#11  # V7 of A minor, the chain's last link: b9, #9, #11 and 13 from the symbol\n14 | Am7      # ii: Dorian, the key’s own notes\n14 | Bm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | C6       # IV: the #4 is the key’s 7th\n14 | D9sus4   # static sus: Mixolydian\n# book: D9sus\n15 | B7#5     # III7 in G, not resolving: b9 and b13 are in the key, the #11 from the symbol\n15 | B7       # extended dominant: V7 of E7b9\n15 | E7b9     # extended dominant: V7 of A7; b9 from the symbol\n15 | A7       # extended dominant: V7 of D13sus\n16 | D13sus   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n16 | D13      # V7 of G: natural tensions\n17 | G6       # tonic: the 4th is in the key\n# alt (optional): bar 18 (F9 Bb13), a turnaround back to the top (whole rest in the melody)\n",1793484802238]