[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:tenderly":3},"title: Tenderly\ncomposer: Walter Gross\nstyle: Medium ballad\nkey: Eb\nform: AB, 32 bars\nrecording: Ella Fitzgerald and Louis Armstrong; Ella and Louis; Verve; 1956\nyoutube: bAQCRpWTEI0\n# analysis: 2026-10-19, rules v2; Eb\n# recording: recorded 1956-08-16, Capitol Studios, Hollywood, with Oscar Peterson, Herb Ellis, Ray Brown, Buddy Rich, Verve MGV 4003, released October 1956; songbook standard → a well-documented LP-era reading, over Sarah Vaughan's 1947 Musicraft 78 (the hit that made it a standard), whose first LP could not be confirmed (MGM's 1951 10-inch Tenderly, E-165, may hold a 1950 remake) (Wikipedia, Discogs); video: \"Provided to YouTube by Universal Music Group\", Cheek To Cheek: The Complete Duet Recordings, the same take\n# the book: may be played in 3\u002F4 (subtract one beat from the first note in each bar)\n\n# bar | chord\n\nsection: A\n1  | EbMaj7  # tonic: the 4th is in the key\n2  | Ab9#11  # IV7 in Eb, not resolving: the #11 is in the key\n3  | Ebm9    # ii of Ab13: Dorian\n4  | Ab13    # extended ii–V: a side-step, its own key\n5  | Fm9     # ii: Dorian, the key’s own notes\n6  | Db9#11  # back door bVII7 to EbMaj7: the #11 is in the key\n7  | EbMaj7  # tonic: the 4th is in the key\n# alt: bar 8 (Gm7 C7)\n9  | Fm7b5   # iiø7 of Bb13: Locrian, the key's own notes (its ♭2 is a passing note)\n10 | Bb13    # extended ii–V: a side-step, its own key: the b9 is in the key, the 13 from the symbol\n11 | Fm7b5   # iiø7 of Bb13: Locrian, the key's own notes (its ♭2 is a passing note)\n12 | Bb13    # extended ii–V: a side-step, its own key: the b9 is in the key, the 13 from the symbol\n12 | Bdim7   # vii°7 of Cm7: G7♭9 without its root\n# alt: bar 12 (Dm7b5 G7)\n13 | Cm7     # ii of F13: Dorian\n14 | F13     # V7\u002FV in Eb: natural tensions\n15 | Fm7     # ii of the ii–V to Eb\n16 | Bb7     # V7 of Eb: natural tensions\n\nsection: B\nbars: 16\n1  | EbMaj7  # tonic: the 4th is in the key\n2  | Ab9#11  # IV7 in Eb, not resolving: the #11 is in the key\n3  | Ebm9    # ii of Ab13: Dorian\n4  | Ab13    # extended ii–V: a side-step, its own key\n5  | Fm9     # ii: Dorian, the key’s own notes\n6  | Db9#11  # back door bVII7 to EbMaj7: the #11 is in the key\n7  | EbMaj7  # tonic: the 4th is in the key\n# alt: bar 8 (Gm7 C7)\n9  | Fm7b5   # iiø7 of Bb13: Locrian, the key's own notes (its ♭2 is a passing note)\n10 | Bb13    # extended ii–V: a side-step, its own key: the b9 is in the key, the 13 from the symbol\n10 | Bdim7   # vii°7 of Cm7: G7♭9 without its root\n# alt: bar 10 (Dm7b5 G7)\n11 | Cm7     # ii of F13: Dorian\n12 | F13     # V7\u002FV in Eb: natural tensions\n12 | F#dim7  # vii°7 of Gm7: D7♭9 without its root\n13 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n13 | C7#5    # V7\u002Fii in Eb: the b13 is in the key, the #11 from the symbol\n14 | Fm9     # ii of the ii–V to Eb\n14 | Bb7     # V7 of Eb: natural tensions\n15 | Eb6     # tonic: the 4th is in the key\n# alt: bar 16 (Fm7 Bb7)\n",1793484803731]