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"The One That Got Away" peaked at number three on the Billboard Hot 100, with Teenage Dream becoming the seventh album in the 53-year history of the Hot 100 to generate at least six top 10s. The single reached the top of the Billboard Hot Dance Club Songs, Adult Top 40, and Mainstream Top 40 charts.
"The One That Got Away" is a song co-written and recorded by American country music artist Jake Owen. It is the ninth single of his career, and was released in May 2012 as the third single from his album Barefoot Blue Jean Night. Owen wrote the song with Jimmy Ritchey and Dallas Davidson.
"The One That Got Away" is a song written by Nathan Winkler, Natasha Bedingfield, Steve Kipner, Andrew Frampton and Michael Tafaro for Bedingfield's 2005 North American debut album Unwritten. The song was backed by remixes by Wamdue and Valentin, was released as a promotional single in the United States in May 2006.
“The one that got away” seems to fascinate us whenever it involves something precious that was once in hand and then gone—even if it has no real relation to our actual lives. For example ...
"The One That Got Away" (Natasha Bedingfield song), 2006 "The One That Got Away" (Katy Perry song), 2011 "The One That Got Away" (Jake Owen song), 2012 "The One That Got Away", a 1976 song by Tom Waits from his album Small Change "The One That Got Away", a 1984 song by Al Stewart from his album Russians & Americans
Bernie Taupin is an English lyricist, poet, and singer. In his long-term collaboration with Elton John, he has written the lyrics for most of John's songs.Over the years, he has written songs for a variety of other artists, including Alice Cooper, Heart, Melissa Manchester, Starship, Rod Stewart and Richie Sambora.
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
In a jazz band, these chord changes are usually played in the key of B ♭ [7] with various chord substitutions.Here is a typical form for the A section with various common substitutions, including bVII 7 in place of the minor iv chord; the addition of a ii–V progression (Fm 7 –B ♭ 7) that briefly tonicizes the IV chord, E ♭; using iii in place of I in bar 7 (the end of the first A ...