[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:save-your-love-for-me":3},"title: Save Your Love for Me\ncomposer: Buddy Johnson\nstyle: Medium ballad\nkey: D\nform: AABC, 32 bars\nrecording: Nancy Wilson and Cannonball Adderley; Nancy Wilson\u002FCannonball Adderley; Capitol; 1962\nyoutube: SpqQwbayrzM\n# analysis: 2026-10-19, rules v2; D\n# recording: recorded June 1961, NYC, Nancy Wilson with Cannonball Adderley, Nat Adderley, Joe Zawinul, Sam Jones, Louis Hayes, Capitol ST 1657, released February 1962, the album's opener; the chart follows this version; sources: Wikipedia, Discogs; video: \"Provided to YouTube by Universal Music Group\", Nancy Wilson\u002FCannonball Adderley, the same take\n\n# as played by Cannonball Adderley and Nancy Wilson\n# the book writes \"D Ami7\" and \"D B7(#9#5)\": the chord over a D pedal (written as slash chords)\n# the form is repeated (A–C); the coda is taken from C bar 7 on the last time (the recording: one chorus, coda first time)\n# bar | chord\n# Intro: a bass pickup, then the pedal figure\n\nsection: Intro\nbars: 4\n1  | Am7\u002FD     # static sus: Mixolydian\n2  | B7#5#9\u002FD  # V7\u002Fii in D: the b13 is in the key, b9, #9 and #11 from the symbol\n\nsection: A\n1  | Em9       # ii: Dorian, the key’s own notes\n3  | Gm9       # ii of C13: Dorian\n4  | C13       # extended ii–V: a side-step, its own key\n5  | Em9       # ii of A9sus4: Dorian\n6  | A9sus4    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n7  | Am7\u002FD     # static sus: Mixolydian\n8  | B7#5#9\u002FD  # V7\u002Fii in D: the b13 is in the key, b9, #9 and #11 from the symbol\n9  | Em9       # ii: Dorian, the key’s own notes\n11 | Gm9       # ii of C13: Dorian\n12 | C13       # extended ii–V: a side-step, its own key\n13 | Em9       # ii of the ii–V to D\n14 | A9sus4    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n15 | D6        # tonic: the 4th is in the key\n15 | A7#5#9    # V7 of D: b9, #9, #11 and b13 from the symbol\n16 | D6        # tonic: the 4th is in the key\n\nsection: B\n1  | Bb7       # ♭VI7 from the parallel minor: Lydian Dominant, it returns to I\n3  | D6        # tonic: the 4th is in the key\n3  | Em7       # ii: Dorian, the key’s own notes\n4  | F#m7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Em7       # ii: Dorian, the key’s own notes\n4  | D6        # tonic: the 4th is in the key\n5  | Bb7       # ♭VI7 from the parallel minor: Lydian Dominant, it returns to I\n7  | DMaj7     # tonic: the 4th is in the key\n7  | F7        # tritone substitute: resolves down a half step to Em7\n8  | Em7       # ii of A9: Dorian\n8  | A9        # V7\u002FI in D: natural tensions\n# alt: bar 8, beats 3–4 (B7#9#5)\n\nsection: C\n1  | Em9       # ii: Dorian, the key’s own notes\n3  | Gm9       # ii of C13: Dorian\n4  | C13       # extended ii–V: a side-step, its own key\n5  | Em9       # ii of A9sus4: Dorian\n6  | A9sus4    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n7  | Am7\u002FD     # static sus: Mixolydian\n@coda 7\n@nav 7 To Coda\n8  | B7#5#9\u002FD  # V7\u002Fii in D: the b13 is in the key, b9, #9 and #11 from the symbol\n\nsection: Coda\nbars: 8\n1  | C9#11     # tritone substitute: resolves down a half step to B7\n2  | B7        # V7\u002Fii in D: the b13 is in the key\n3  | Em9       # ii: Dorian, the key’s own notes\n4  | Gm9       # ii of C13: Dorian\n4  | C13       # extended ii–V: a side-step, its own key\n5  | Em9       # ii of A7#5#9: Dorian\n# bars 5–6: molto rit.; a caesura, then a tempo\n6  | A7#5#9    # extended dominant: V7 of Am7\u002FD; b9, #9, #11 and b13 from the symbol\n7  | Am7\u002FD     # static sus: Mixolydian\n# bar 8: Am7\u002FD again, held (fermata)\n@coda 1\n",1793484802970]