[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:aqui-oh":3},"title: Aqui, Oh!\ncomposer: Toninho Horta\nstyle: Samba\nkey: E\nform: ABCBC, 96 bars\nrecording: Milton Nascimento; Milton Nascimento; Odeon; 1969\nyoutube: sWmZAlGaVZ8\n# analysis: 2026-10-28, rules v2; E\n# recording: Odeon MOFB 3592, B5, prod. Milton Miranda, sung by Milton with Toninho Horta, who plays guitar; the first recording and Toninho's own first (rule 1\u002F2); sources: Discogs; video: Milton Nascimento - Topic \"Provided to YouTube\" upload (Universal Music Group), Milton Nascimento, ℗ 1969 EMI, 2:21\n\nsection: Intro1\n# area: E major (Intro1 1 – C1 2)\n1  | Eadd9     # tonic: the 4th is in the key\n2  | Am9\u002FE     # iv7 from the parallel minor: Dorian, its notes\n\nsection: Intro2\ncopy: Intro1\n\nsection: A\n1  | Eadd9     # tonic: the 4th is in the key\n2  | Eadd9\n3  | Eadd9\n4  | Eadd9\n5  | A13#11    # tritone substitute: resolves down a half step to G#m9\n6  | A13#11\n7  | A13#11\n8  | A13#11\n9  | G#m9      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | C#m9      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n11 | F#m7      # ii of B9\u002FA: Dorian\n12 | B9\u002FA      # V7\u002FI in E: natural tensions\n13 | G#m9      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | G#m9\n15 | C#7alt    # from the symbol: altered\n16 | C#7alt\n17 | Am9       # ii of D13sus: Dorian\n18 | Am9\n19 | D13sus    # ♭VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n20 | D13       # ♭VII7 from the parallel minor: Lydian Dominant\n21 | G#m9      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n22 | G#m9\n23 | C#m11     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n24 | C#7b9b5   # V7\u002Fii in E: b9, #11 and 13 from the symbol\n25 | F#m11     # ii: Dorian, the key’s own notes\n26 | EMaj7\u002FG#  # tonic: the 4th is in the key\n27 | Am9       # iv7 from the parallel minor: Dorian, its notes\n28 | B7sus4b9  # from the symbol: sus b9\n29 | EMaj9     # tonic: the 4th is in the key\n30 | EMaj9\n31 | C#7#9#5   # extended dominant: V7 of F#7sus; b9, #9, #11 and b13 from the symbol\n32 | C#7#9#5\n33 | F#7sus    # static sus: Mixolydian\n34 | G69       # ♭III6, borrowed from E minor: Lydian (its ♯11 is in the key)\n35 | F#7sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n36 | F#7sus\n37 | B13sus    # static sus: Mixolydian\n38 | B13sus\n39 | Bb13      # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n40 | Bb7#5     # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b13 from the symbol\n\nsection: B1\n1  | GbMaj9    # a non-tonic major chord: Lydian\n2  | Dbadd9\u002FF  # a non-tonic major chord: Lydian\n3  | Ebm9      # ii of Ab13: Dorian\n4  | Ebm9\n5  | Ab13      # extended ii–V: a side-step, its own key\n6  | A13       # tritone substitute: resolves down a half step to Ab13\n7  | Ab13      # III7 in E, not resolving: the b9 is in the key, the 13 from the symbol; the repeat at B2 bar 7 would be Ab Mixolydian\n8  | Ab13      # III7 in E, not resolving: the b9 is in the key, the 13 from the symbol; the repeat at B2 bar 8 would be Ab Mixolydian\n9  | B9sus     # static sus: Mixolydian\n10 | B9sus\n11 | B7sus4b9  # from the symbol: sus b9\n12 | B7sus4b9\n\nsection: C1\n1  | EMaj9     # tonic: the 4th is in the key\n2  | Am6\u002F9     # a minor sixth chord: Dorian\n# area: F# major (C1 3–7)\n3  | G#7alt    # from the symbol: altered\n4  | C#7alt    # from the symbol: altered\n5  | F#Maj9    # tonic: the 4th is in the key\n6  | F#Maj9\n7  | Bb7alt    # from the symbol: altered\n# area: Ab major (C1 8 – B2 12)\n8  | A13#11    # tritone substitute: resolves down a half step to AbMaj7\n9  | AbMaj7    # tonic: the 4th is in the key\n10 | Fm11      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n11 | Cm7b5     # iiø7 of F7b9#5: Locrian, the key's own notes (its ♭2 is a passing note)\n12 | F7b9#5    # extended dominant: V7 of Bb13; b9, #11 and b13 from the symbol\n13 | Bb13      # II7 in Ab, not resolving: natural tensions\n14 | B13       # tritone substitute: resolves down a half step to Bb13#11\n15 | Bb13#11   # II7 in Ab, not resolving: the #11 from the symbol\n16 | Bb13#11\n17 | Abm9      # a borrowed minor chord: Dorian, its own key\n18 | Abm9\n19 | GMaj7#11  # from the symbol: #11\n20 | GMaj7#11\n\nsection: B2\ncopy: B1\n\nsection: C2\n# area: E major (C2 1–12)\n1  | EMaj9     # tonic: the 4th is in the key\n2  | Am6\u002F9     # a minor sixth chord: Dorian\n3  | G#7alt    # from the symbol: altered\n4  | C#7alt    # from the symbol: altered\n5  | F#7sus    # static sus: Mixolydian\n6  | G69       # ♭III6, borrowed from E minor: Lydian (its ♯11 is in the key)\n7  | F#7sus    # static sus: Mixolydian\n8  | G69       # ♭III6, borrowed from E minor: Lydian (its ♯11 is in the key)\n9  | F#7sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n10 | F#7sus\n11 | B9sus     # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | B7#9#5    # V7 of E: b9, #9, #11 and b13 from the symbol\n",1793484797731]