[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:the-christmas-song":3},"title: The Christmas Song\naka: Chestnuts Roasting on an Open Fire\ncomposer: Mel Tormé\nstyle: Christmas\nkey: Eb\nform: AABA, 32 bars\nrecording: Nat King Cole; The Nat King Cole Story; Capitol; 1961\nyoutube: g8UmqvOqB1A\n# analysis: 2026-10-19, rules v2; Eb\n# recording: recorded 1961-03-30, Capitol Studios, New York, Nat King Cole with Hank Jones, John Collins, Charlie Harris, Lee Young, orchestra conducted by Ralph Carmichael, his fourth and last recording of it and the first in stereo, later on The Christmas Song (Capitol SW-1967, 1962\u002F63); song standard → Cole's version, \"generally regarded as definitive\" (National Recording Registry 2022), over the 1946 trio originals (Capitol 311, 78) and the 1953 Nelson Riddle remake (Wikipedia); video: \"Provided to YouTube by Universal Music Group\", The Nat King Cole Story, the same take (Carmichael credited)\n\n# bar | chord | scale\n\nsection: A1\n# area: Eb major (A1 1–6)\n1 | EbMaj7  # tonic: the 4th is in the key\n1 | Fm7     # ii: Dorian, the key’s own notes\n2 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | C7      # V7\u002Fii in Eb: the b13 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    # ii of the ii–V to Ab\n3 | Eb7     # V7\u002FIV in Eb: natural tensions\n4 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n4 | Db7     # tritone substitute: resolves down a half step to Cm7\n5 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | Db7     # tritone substitute: resolves down a half step to Cm7\n6 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Cm7\u002FBb  # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: G major (A1 6–7)\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\n# area: Gb major (A1 7–8)\n7 | Abm7    # ii of the ii–V to Gb\n7 | Db7     # V7 of Gb: natural tensions\n8 | GbMaj7  # tonic: the 4th is in the key\n# area: Eb major (A1 8 – B 4)\n8 | Fm7     # ii of the ii–V to Eb\n8 | Bb7     # V7 of Eb: natural tensions\n\nsection: A2\n1 | EbMaj7  # tonic: the 4th is in the key\n1 | Fm7     # ii: Dorian, the key’s own notes\n2 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | C7      # V7\u002Fii in Eb: the b13 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    # ii of the ii–V to Ab\n3 | Eb7     # V7\u002FIV in Eb: natural tensions\n4 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n4 | Db7     # tritone substitute: resolves down a half step to Cm7\n5 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | Db7     # tritone substitute: resolves down a half step to Cm7\n6 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Cm7\u002FBb  # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Am7     # ii of the ii–V to G minor\n6 | D7      # V7\u002Fiii in Eb: b9 and b13 are in the key\n7 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | C7      # V7\u002Fii in Eb: the b13 is in the key\n7 | Fm7     # ii of the ii–V to Eb\n7 | Bb7     # V7 of Eb: natural tensions\n8 | EbMaj7  # tonic: the 4th is in the key\n\nsection: B\n1 | Bbm7    # ii of the ii–V to Ab\n1 | Eb7     # V7\u002FIV in Eb: natural tensions\n2 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n2 | Cm7     # ii of the ii–V to Bb minor\n2 | F7      # V7\u002Fv in Eb: natural tensions\n3 | Bbm7    # ii of the ii–V to Ab\n3 | Eb7     # V7\u002FIV in Eb: natural tensions\n4 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n# area: Gb major (B 5–6)\n5 | Abm7    # ii of the ii–V to Gb\n5 | Db7     # V7 of Gb: natural tensions\n6 | GbMaj7  # tonic: the 4th is in the key\n6 | B7      # IV7 in Gb, not resolving: the #11 is in the key\n# area: Eb major (B 7 – A3 8)\n7 | Cm7     # ii of F7: Dorian\n7 | F7      # V7\u002FV in Eb: natural tensions\n8 | Fm7     # ii of the ii–V to Eb\n8 | Bb7     # V7 of Eb: natural tensions\n\nsection: A3\n1 | EbMaj7  # tonic: the 4th is in the key\n1 | Fm7     # ii: Dorian, the key’s own notes\n2 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | C7      # V7\u002Fii in Eb: the b13 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    # ii of the ii–V to Ab\n3 | Eb7     # V7\u002FIV in Eb: natural tensions\n4 | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n4 | Db7     # tritone substitute: resolves down a half step to Cm7\n5 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | Db7     # tritone substitute: resolves down a half step to Cm7\n6 | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Cm7\u002FBb  # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | Am7     # ii of the ii–V to G minor\n6 | D7      # V7\u002Fiii in Eb: b9 and b13 are in the key\n7 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | C7      # V7\u002Fii in Eb: the b13 is in the key\n7 | Fm7     # ii of the ii–V to Eb\n7 | Bb7     # V7 of Eb: natural tensions\n8 | Eb6\u002F9   # tonic: the 4th is in the key\n",1793484803796]