[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:amor-ivan-lins":3},"title: Amor (Ivan Lins)\ncomposer: Ivan Lins\nstyle: Slow Bossa Nova\nkey: A\nform: AABB, 48 bars\nrecording: Ivan Lins; Daquilo Que Eu Sei; Philips; 1981\nyoutube: AzzCAEmy6m0\n# analysis: 2026-10-28, rules v2; A\n# recording: Philips 6328 341, prod. Gilson Peranzzetta, a duet with Lucinha Lins; Ivan Lins and Vitor Martins; the composer's own first recording (rule 1); sources: Discogs, Wikipedia (pt); video: Ivan Lins - Topic \"Provided to YouTube\" upload (Universal Music Group), Daquilo Que Eu Sei, ℗ 1981, 4:38\n\nsection: A\n# area: A major (A 1–12)\n1  | AMaj7     # tonic: the 4th is in the key\n2  | F#m9      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | C#m9      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | C#m9\n5  | GMaj9\u002FB   # ♭VIImaj7, borrowed from A minor: Lydian (its ♯11 is in the key)\n6  | A13sus    # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6  | A13       # V7\u002FIV in A: natural tensions\n7  | DMaj7     # the A13 before it makes D the key of the moment: the 4th is in the key\n7  | D6        # IV: the #4 is the key’s 7th\n8  | DMaj7#5   # from the symbol: #5\n8  | D6        # IV: the #4 is the key’s 7th\n9  | Ab7sus    # VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n9  | Ab7       # extended dominant: V7 of Db7sus\n10 | Db7sus    # III7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n10 | Db7       # III7 in A, not resolving: b9 and b13 are in the key\n11 | Bm\u002FF#     # ii: Dorian, the key’s own notes\n11 | F#Maj7    # a non-tonic major chord: Lydian\n12 | F7sus     # ♭VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Bb major (A 12–13)\n12 | F7        # V7 of Bb: natural tensions\n13 | BbMaj7    # tonic: the 4th is in the key\n# area: A major (A 14 – B 9)\n14 | Bm7b5     # iiø7 of A: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | E7#9      # V7 of A: b9, #9 and #11 from the symbol\n15 | AMaj9     # tonic: the 4th is in the key\n16 | AMaj9\n16 | G13sus    # static sus: Mixolydian\n17 | A9sus     # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n17 | A9        # V7\u002FIV in A: natural tensions\n@ending 1 16\n@ending 2 17\n\nsection: B\n1  | DMaj7     # the A9 before it makes D the key of the moment: the 4th is in the key\n2  | Dm9       # iv7 from the parallel minor: Dorian, its notes\n3  | AMaj7\u002FC#  # tonic: the 4th is in the key\n4  | CMaj7     # ♭IIImaj7, borrowed from A minor: Lydian (its ♯11 is in the key)\n4  | C6        # ♭III6, borrowed from A minor: Lydian (its ♯11 is in the key)\n5  | Bm7       # ii of E7sus: Dorian\n6  | E7sus     # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6  | E7        # V7 of A: natural tensions\n7  | AMaj9     # tonic: the 4th is in the key\n8  | A13sus    # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | A13       # I7 in A, not resolving: natural tensions\n9  | E13sus    # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n9  | E13       # V7 of A: natural tensions\n@ending 1 8\n@ending 2 9\n",1793484797543]