[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:a-certain-sadness":3},"title: A Certain Sadness\ncomposer: Carlos Lyra\nstyle: Bossa Nova\nkey: G\nform: AABBCD, 52 bars\nrecording: Astrud Gilberto & Walter Wanderley; A Certain Smile, A Certain Sadness; Verve; 1966\nyoutube: CKiN9KbJksQ\n# analysis: 2026-10-28, rules v2; G\n# recording: Verve V-8673 \u002F V6-8673, prod. Creed Taylor, eng. Rudy Van Gelder; the recording that introduced it, of Carlos Lyra's tune with John Court's English lyric (rule 2); sources: Discogs, Wikipedia; video: Astrud Gilberto - Topic \"Provided to YouTube\" upload (Universal Music Group), A Certain Smile, A Certain Sadness, 3:09\n\nsection: Intro1\n1  | GMaj7     # tonic: the 4th is in the key\n2  | GMaj7\n\nsection: A1\n1  | GMaj7     # tonic: the 4th is in the key\n2  | FMaj7\u002FG   # ♭VIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n3  | GMaj7     # tonic: the 4th is in the key\n4  | FMaj7\u002FG   # ♭VIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n5  | CMaj7     # IV: the #4 is the key’s 7th\n6  | Am7       # ii of the ii–V to G\n6  | D7b9      # V7 of G: the b9 from the symbol\n\nsection: Intro2\ncopy: Intro1\n\nsection: A2\n1  | GMaj7     # tonic: the 4th is in the key\n2  | FMaj7\u002FG   # ♭VIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n3  | GMaj7     # tonic: the 4th is in the key\n4  | FMaj7\u002FG   # ♭VIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n5  | CMaj7     # IV: the #4 is the key’s 7th\n6  | Am7       # ii: Dorian, the key’s own notes\n7  | Em7       # ii of A7: Dorian\n8  | A7        # V7\u002FV in G: natural tensions\n9  | Am7       # ii of the ii–V to G\n10 | D7b9      # V7 of G: the b9 from the symbol\n\nsection: B\n1  | GMaj7     # tonic: the 4th is in the key\n2  | Em7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Am7       # ii of D7: Dorian\n4  | D7        # V7\u002FI in G: natural tensions\n5  | Am7       # ii: Dorian, the key’s own notes\n6  | Gdim7\u002FBb  # auxiliary diminished: it decorates the chord and returns to it\n7  | GMaj7     # tonic: the 4th is in the key\n8  | Am7       # ii of the ii–V to G\n8  | D7        # V7 of G: natural tensions\n9  | GMaj7     # tonic: the 4th is in the key\n10 | Gdim7\u002FBb  # passing diminished: a rootless dominant ♭9; not functioning diatonically: the symmetric scale\n11 | Am7       # ii: Dorian, the key’s own notes\n12 | FMaj7     # ♭VIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n13 | Am7       # ii: Dorian, the key’s own notes\n13 | FMaj7     # ♭VIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n14 | Am7       # ii: Dorian, the key’s own notes\n14 | FMaj7     # ♭VIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n15 | Am7       # ii of the ii–V to G\n16 | D7b9      # V7 of G: the b9 from the symbol\n17 | GMaj7     # tonic: the 4th is in the key\n18 | Dm        # ii of the ii–V to C\n18 | G7        # V7\u002FIV in G: natural tensions\n@ending 1 7 16\n@ending 2 17 18\n\nsection: C\n1  | CMaj7     # the G7 before it makes C the key of the moment: the 4th is in the key\n2  | B7        # V7\u002Fvi in G: b9 and b13 are in the key\n3  | Em        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | Em\u002FD#     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Em\u002FD      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | C#dim     # passing diminished: A7♭9 without its A, the D7b9's dominant; not functioning diatonically: the symmetric scale\n5  | Am7       # ii of the ii–V to G\n6  | D7b9      # V7 of G: the b9 from the symbol\n\nsection: D\n1  | GMaj7     # tonic: the 4th is in the key\n2  | FMaj7\u002FG   # ♭VIImaj7, borrowed from G minor: Lydian (its ♯11 is in the key)\n3  | CMaj7     # IV: the #4 is the key’s 7th\n4  | Am7       # ii of the ii–V to G\n4  | D7b9      # V7 of G: the b9 from the symbol\n5  | GMaj7     # tonic: the 4th is in the key\n6  | GMaj7\n",1793484797140]