[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:ana-luiza":3},"title: Ana Luíza\ncomposer: Antonio Carlos Jobim\nstyle: Bossa Nova\nkey: Db\nform: AB, 44 bars\nrecording: Antonio Carlos Jobim; Jobim; MCA; 1973\nyoutube: i72pllVAwZ8\n# analysis: 2026-10-28, rules v2; Db\n# recording: recorded in New York, Claus Ogerman arranger\u002Fconductor, MCA 350 (US, 1973), issued in Brazil as Matita Perê (Philips, 1973); the composer's own first recording (rule 1); sources: Discogs; video: Antonio Carlos Jobim - Topic \"Provided to YouTube\" upload (Universal Music Group), Jobim, ℗ 1973 The Verve Music Group, 5:26\n\nsection: Verse\noutside: yes\n# area: Db major (Verse 1 – A 21)\n1  | Db6      # tonic: the 4th is in the key\n1  | Bbm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | Ebm7     # ii of Ab7: Dorian\n2  | Ab7      # V7\u002FI in Db: natural tensions\n3  | Bbm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | BbmMaj7  # from the symbol: minor-major 7th\n4  | Eb9      # V7\u002FV in Db: natural tensions\n5  | Ebm7     # ii: Dorian, the key’s own notes\n5  | EbmMaj7  # from the symbol: minor-major 7th\n6  | F7b13    # extended dominant: V7 of Bb9sus; b13 from the symbol\n7  | Bb9sus   # VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n7  | Bb7b9    # extended dominant: V7 of Eb9sus; b9 from the symbol\n8  | Eb9sus   # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | Eb9      # II7 in Db, not resolving: natural tensions\n9  | Eb9#11   # II7 in Db, not resolving: the #11 from the symbol\n9  | Eb9sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n10 | Ab9sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n11 | Db6      # tonic: the 4th is in the key\n\nsection: A\n1  | Dm7b5    # iiø7 of G9: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | G9       # extended ii–V: a side-step, its own key: the b13 is in the key, the 9 from the symbol\n3  | Dm7b5    # iiø7 of G7sus: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | G7sus    # static sus: Mixolydian\n5  | Em7      # a borrowed minor chord: Dorian, its own key\n6  | Ebdim7   # passing diminished: F7♭9 without its F, the Bb\u002FD's dominant; not functioning diatonically: the symmetric scale\n7  | Bb\u002FD     # a non-tonic major chord: Lydian\n8  | G\u002FD      # a non-tonic major chord: Lydian\n9  | Gm7      # a borrowed minor chord: Dorian, its own key\n10 | A7b13    # ♭VI7 from the parallel minor: Lydian Dominant; b13 from the symbol\n11 | Em7b5    # iiø7 of A13b9: Locrian, the key's own notes (its ♭2 is a passing note)\n12 | A13b9    # extended ii–V: a side-step, its own key: the b9 is in the key, the 13 from the symbol\n13 | FMaj7    # a non-tonic major chord: Lydian\n14 | Fm7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | G7b9     # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b9 from the symbol\n15 | Em7      # a borrowed minor chord: Dorian, its own key\n15 | Ebdim7   # passing diminished: a rootless dominant ♭9; not functioning diatonically: the symmetric scale\n16 | Dm9      # a borrowed minor chord: Dorian, its own key\n17 | Db9sus   # static sus: Mixolydian\n17 | G7#5     # V7\u002Fvii in Db: b9 and b13 are in the key, the #11 from the symbol\n18 | Cdim7    # auxiliary diminished: it decorates the chord and returns to it; not functioning diatonically: the symmetric scale\n18 | C69      # a non-tonic major chord: Lydian\n19 | C69\n20 | F9sus    # III7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n21 | F9sus\n# area: Bb major (A 21–22)\n21 | F7b9     # V7 of Bb: the b9 from the symbol\n22 | BbMaj7   # tonic: the 4th is in the key\n# area: D major (A 23 – B 11)\n23 | Em9      # ii of the ii–V to D\n23 | A7#5     # V7 of D: #11 and b13 from the symbol\n24 | DMaj9    # tonic: the 4th is in the key\n25 | CMaj7    # ♭VIImaj7, borrowed from D minor: Lydian (its ♯11 is in the key)\n\nsection: B\n1  | Em7b5    # iiø7 of A9: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | A9       # extended ii–V: a side-step, its own key: the b13 is in the key, the 9 from the symbol\n3  | Em7b5    # iiø7 of A7: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | A7       # extended ii–V: a side-step, its own key: b9 and b13 are in the key\n5  | F#m7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Fdim7    # passing diminished: G7♭9 without its G, the C\u002FE's dominant\n7  | C\u002FE      # ♭VII, borrowed from D minor: Lydian (its ♯11 is in the key)\n8  | A7\u002FE     # V7 in D, not resolving: natural tensions\n9  | Am7      # a borrowed minor chord: Dorian, its own key\n10 | B7b13    # VI7 in D, not resolving: the b13 is in the key\n11 | Ab7b13   # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b13 from the symbol\n# area: Db major (B 12–16)\n12 | Gm7b5    # iiø7 of C7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n13 | C7b9     # V7\u002Fiii in Db: b9 and b13 are in the key\n14 | AbMaj7   # a non-tonic major chord: Lydian\n15 | Abm7     # a borrowed minor chord: Dorian, its own key\n15 | Bb7      # VI7 in Db, not resolving: the b13 is in the key\n16 | Gm7      # a borrowed minor chord: Dorian, its own key\n16 | Gbdim    # passing diminished: F7♭9 without its F, the Bb7's dominant; not functioning diatonically: the symmetric scale\n# area: Eb major (B 17–19)\n17 | Fm7      # ii of the ii–V to Eb\n17 | Bb7      # V7 of Eb: natural tensions\n18 | EbMaj7   # tonic: the 4th is in the key\n19 | EbMaj7\n",1793484797550]