[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:anos-dourados":3},"title: Anos Dourados\ncomposer: Antonio Carlos Jobim, Chico Buarque\nstyle: Bossa Nova\nkey: G\nform: ABACD, 42 bars\nrecording: Antonio Carlos Jobim; Passarim; Verve; 1987\nyoutube: V2hBqh2SFHE\n# analysis: 2026-10-28, rules v2; G\n# recording: Verve 833 234-1 (Brazil, A4 \"Anos Dourados\" 3:43; the English \"Looks Like December\" on the European\u002FUS issues), prod. Paulo Jobim and Jaques Morelenbaum; Jobim with Chico Buarque singing his lyric, both composers' own first recording of the song (rule 1); Jobim's piano instrumental of the TV-series theme came first, on the Anos Dourados soundtrack (Som Livre 530.025, 1986); sources: Discogs; video: Antonio Carlos Jobim - Topic \"Provided to YouTube\" upload (Universal Music Group), Passarim, ℗ 1987, 3:44\n\nsection: Intro\n# area: Eb major (Intro 1–4)\n1  | GMaj7   # a non-tonic major chord: Lydian\n1  | Em7     # a borrowed minor chord: Dorian, its own key\n2  | Am7     # ii of the ii–V to G\n2  | D13b9   # V7\u002FIII in Eb: the b9 is in the key, the 13 from the symbol\n3  | GMaj7   # a non-tonic major chord: Lydian\n3  | Em7     # a borrowed minor chord: Dorian, its own key\n4  | Am9     # ii of the ii–V to G\n4  | D13b9   # V7\u002FIII in Eb: the b9 is in the key, the 13 from the symbol\n\nsection: A1\n# area: G major (A1 1 – D 1)\n1  | GMaj7   # tonic: the 4th is in the key\n1  | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | Am9     # ii of the ii–V to G\n2  | D13b9   # V7 of G: the b9 from the symbol\n3  | GMaj7   # tonic: the 4th is in the key\n3  | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Am9     # ii of the ii–V to G\n4  | D13b9   # V7 of G: the b9 from the symbol\n5  | GMaj7   # tonic: the 4th is in the key\n5  | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | Am9     # ii of D7: Dorian\n6  | D7      # V7\u002FI in G: natural tensions\n7  | Dm7     # ii of the ii–V to C\n8  | G13b9   # V7\u002FIV in G: the b9 from the symbol\n@segno 1\n\nsection: B\n1  | CMaj7   # the G13b9 before it makes C the key of the moment: the 4th is in the key\n2  | C#m7b5  # iiø7 of B minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | F#7#5   # V7\u002Fiii in G: b9 and b13 are in the key, the #11 from the symbol\n3  | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | C#m11   # ii of the ii–V to B minor\n4  | F#7#5   # V7\u002Fiii in G: b9 and b13 are in the key, the #11 from the symbol\n5  | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | Bm\u002FA    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | C#7\u002FG#  # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n6  | G13     # tritone substitute: resolves down a half step to F#7#5\n6  | F#7#5   # extended dominant: each one falls a fifth into the next: #11 and b13 from the symbol\n7  | B13     # extended dominant: each one falls a fifth into the next: natural tensions\n7  | E7#9    # extended dominant: each one falls a fifth into the next: b9, #9 and #11 from the symbol\n8  | A13     # V7 of V7: the dominant of the dominant: natural tensions\n8  | D13b9   # V7 of G: the b9 from the symbol\n\nsection: A2\ncopy: A1\n\nsection: C\n1  | CMaj7   # the G13b9 before it makes C the key of the moment: the 4th is in the key\n1  | C6      # IV: the #4 is the key’s 7th\n2  | B7sus   # III7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2  | B7      # V7\u002Fvi in G: b9 and b13 are in the key\n3  | EmMaj7  # from the symbol: minor-major 7th\n3  | Em7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Cm6     # a minor sixth chord: Dorian\n5  | GMaj7   # tonic: the 4th is in the key\n5  | Em7     # ii of A7: Dorian\n6  | A7      # extended dominant: V7 of D9sus\n6  | D9sus   # static sus: Mixolydian\n7  | B13     # III7 in G, not resolving: the b9 is in the key, the 13 from the symbol\n7  | B7      # extended dominant: V7 of E9\n7  | E9      # VI7 in G, not resolving: the b13 is in the key\n7  | E7      # extended dominant: each one falls a fifth into the next: natural tensions\n8  | A13     # V7 of V7: the dominant of the dominant: natural tensions\n8  | D7b9    # V7 in G, not resolving: the b9 from the symbol\n@coda 8\n\nsection: D\n1  | Eb\u002FF    # ♭VI, borrowed from G minor: Lydian (its ♯11 is in the key)\n# area: Eb major (D 2–9)\n2  | Bb13    # V7 of Eb: natural tensions\n3  | EbMaj7  # tonic: the 4th is in the key\n3  | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Fm7     # ii of the ii–V to Eb\n4  | Bb13b9  # V7 of Eb: the b9 from the symbol\n5  | EbMaj7  # tonic: the 4th is in the key\n5  | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6  | Fm7     # ii of the ii–V to Eb\n6  | Bb13b9  # V7 of Eb: the b9 from the symbol\n7  | EbMaj7  # tonic: the 4th is in the key\n7  | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | Fm7     # ii of Bb13b9: Dorian\n8  | Bb13b9  # V7\u002FI in Eb: the b9 from the symbol\n9  | Bbm7    # a borrowed minor chord: Dorian, its own key\n# area: G major (D 10 – Coda 1)\n10 | D7sus   # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n@nav 10 D.S. al Coda\n\nsection: Coda\n1  | Eb\u002FF    # ♭VI, borrowed from G minor: Lydian (its ♯11 is in the key)\n# area: Eb major (Coda 1–4)\n1  | Bb13    # V7 of Eb: natural tensions\n2  | EbMaj7  # tonic: the 4th is in the key\n2  | Ab7     # IV7 in Eb, not resolving: the #11 is in the key\n3  | D7      # VII7 in Eb, not resolving: b9 and b13 are in the key\n3  | D+      # from the symbol: augmented\n4  | GMaj7   # a non-tonic major chord: Lydian\n@coda 1\n",1793484797617]