[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:aparecida":3},"title: Apareçida\ncomposer: Ivan Lins\nstyle: Bossa Nova\nkey: Bm\nform: AABC, 56 bars\nrecording: Ivan Lins; Somos Todos Iguais Nesta Noite; EMI-Odeon; 1977\nyoutube: jPBNp8USMgY\n# analysis: 2026-10-28, rules v2; B minor\n# recording: EMI XEMCB 7023, A4 (4:20); the composer's own first recording (rule 1); MPB4 recorded it first, on Canto dos Homens (Philips 6349 311, 1976); sources: Discogs; video: Ivan Lins - Topic \"Provided to YouTube\" upload (Universal Music Group), Somos Todos Iguais Nesta Noite, ℗ 1977 EMI Music Brasil, 4:19\n\nsection: Intro1\n# area: B minor (Intro1 1 – A1 1)\n1  | Bm7     # tonic minor: Dorian by convention\n2  | Bm7\n3  | Bm7\n4  | Bm7\n5  | G#m7b5  # viø7 in B minor: Locrian, its own mode (the chord is outside the key)\n6  | Cm7     # a borrowed minor chord: Dorian, its own key\n6  | F#7     # V7 of B minor: b9 and b13 are in the key\n7  | Bm7     # tonic minor: Dorian by convention\n8  | Bm7\n\nsection: Intro2\ncopy: Intro1\n\nsection: A1\n1  | Bm7     # tonic minor: Dorian by convention\n# area: D major (A1 2–3)\n2  | Em7     # ii of the ii–V to D\n2  | A13     # V7 of D: natural tensions\n3  | DMaj9   # tonic: the 4th is in the key\n# area: B minor (A1 4 – A2 1)\n4  | C#m7    # ii of the ii–V to B minor\n4  | F#7b13  # V7 of B minor: b9 and b13 are in the key\n5  | Bm7     # tonic minor: Dorian by convention\n6  | B13     # I7 in B minor, not resolving: the 13 from the symbol\n6  | B7b13   # extended dominant: V7 of E9; b13 from the symbol\n7  | E9      # extended dominant: V7 of A13\n8  | E9\n9  | A13     # extended dominant: V7 of D13\n10 | A13\n11 | D13     # tritone substitute: resolves down a half step to C#7#9\n12 | D13\n13 | C#7#9   # II7 in B minor, not resolving: the b13 is in the key, b9, #9 and #11 from the symbol\n14 | C#7#9\n15 | G7      # tritone substitute: resolves down a half step to F#7b13\n16 | F#7b13  # V7 of B minor: b9 and b13 are in the key\n\nsection: A2\ncopy: A1\n\nsection: B\n1  | Bm9     # tonic minor: Dorian by convention\n# area: D major (B 2–16)\n2  | Em9     # ii of the ii–V to D\n2  | A13     # V7 of D: natural tensions\n3  | DMaj9   # tonic: the 4th is in the key\n4  | C#m7    # ii of F#7b13: Dorian\n4  | F#7b13  # extended ii–V: a side-step, its own key; b13 from the symbol\n5  | F#m7b5  # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | B7b9    # V7\u002Fii in D: the b13 is in the key, the b9 from the symbol\n7  | Em9     # ii: Dorian, the key’s own notes\n8  | Em9\n9  | Gm7     # ii of C9#11: Dorian\n10 | C9#11   # back door bVII7 to DMaj9: the #11 is in the key\n11 | DMaj9   # tonic: the 4th is in the key\n12 | Bm9     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n13 | Em9     # ii of A13: Dorian\n14 | Em9\n15 | A13     # V7\u002FI in D: natural tensions\n16 | F#13    # III7 in D, not resolving: the b9 is in the key, the 13 from the symbol\n# area: B minor (B 16 – C 1)\n16 | F#7b13  # V7 of B minor: b9 and b13 are in the key\n\nsection: C\n1  | Bm7     # tonic minor: Dorian by convention\n# area: D major (C 2–7)\n2  | Em7     # ii of the ii–V to D\n2  | A13     # V7 of D: natural tensions\n3  | DMaj9   # tonic: the 4th is in the key\n4  | C#m7    # ii of F#7b13: Dorian\n4  | F#7b13  # extended ii–V: a side-step, its own key; b13 from the symbol\n5  | Cm7     # ii of F13: Dorian\n5  | F13     # tritone substitute: resolves down a half step to Em7\n6  | Em7     # ii of the ii–V to D\n6  | A13     # V7 of D: natural tensions\n7  | DMaj9   # tonic: the 4th is in the key\n# area: B minor (C 8)\n8  | C#m7    # ii of the ii–V to B minor\n8  | F#7b13  # V7 of B minor: b9 and b13 are in the key\n",1793484797701]