[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:baia":3},"title: Baía\ncomposer: Ary Barroso\nstyle: Bossa Nova\nkey: Eb\nform: ABC, 54 bars\naka: Bahia\nrecording: John Coltrane; Bahia; Prestige; 1965\nyoutube: Lo3OYrUqR24\n# analysis: 2026-10-28, rules v2; Eb\n# recording: recorded 1958-12-26, Van Gelder Studio, Hackensack, Prestige PR 7353 (1965), A1 (6:19); the version jazz players learn \"Bahia\" (Na Baixa do Sapateiro) from (rule 2); the song's first recording was Carmen Miranda's Odeon 78 (1938), with no confident first LP; sources: Discogs; video: John Coltrane official channel (Craft Recordings) \"Official Audio\" upload, from Bahia, 6:15\n\nsection: Intro\n# area: Eb major (Intro 1 – B 12)\n1  | Eb7     # static dominant: its own mode\n2  | Eb7\n3  | Eb7\n4  | Eb7\n\nsection: A\n1  | Eb7     # V7\u002FIV in Eb: natural tensions\n2  | Eb7\n3  | Eb7\n4  | Eb7\n5  | Eb7\n6  | Eb7\n7  | Eb7\n8  | Eb7\n9  | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n10 | AbMaj7\n11 | Db9b5   # ♭VII7 from the parallel minor: Lydian Dominant\n12 | Db9b5\n13 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n13 | C7b9    # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n14 | Fm7     # ii of the ii–V to Eb\n14 | Bb7#9   # V7 of Eb: b9, #9 and #11 from the symbol\n15 | Eb      # tonic: the 4th is in the key\n15 | Edim7   # vii°7 of Fm7: C7♭9 without its root\n16 | Fm7     # ii of the ii–V to Eb\n16 | Bb7     # V7 of Eb: natural tensions\n@segno 1\n\nsection: B\n1  | Eb6     # tonic: the 4th is in the key\n2  | Edim7   # vii°7 of Fm6: C7♭9 without its root\n3  | Fm6     # a minor sixth chord: Dorian\n4  | Bb7     # V7\u002FI in Eb: natural tensions\n5  | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Gbdim7  # passing diminished: a rootless dominant ♭9\n7  | Fm7     # ii: Dorian, the key’s own notes\n8  | C7#5    # V7\u002Fii in Eb: the b13 is in the key, the #11 from the symbol\n9  | Fm7     # ii of the ii–V to Eb\n10 | Bb7     # V7 of Eb: natural tensions\n11 | EbMaj7  # tonic: the 4th is in the key\n12 | Eb6     # tonic: the 4th is in the key\n# area: G major (B 13–15)\n13 | Am6     # a minor sixth chord: Dorian\n14 | D7b9    # V7 of G: the b9 from the symbol\n15 | GMaj7   # tonic: the 4th is in the key\n# area: Eb major (B 16 – Coda 4)\n16 | Bb7     # V7 of Eb: natural tensions\n\nsection: C\n1  | Eb6     # tonic: the 4th is in the key\n2  | Eb6\n3  | Eb6\n4  | Eb6\n5  | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Gm7\n6  | Eb7     # V7\u002FIV in Eb: natural tensions\n7  | AbMaj7  # the Eb7 before it makes Ab the key of the moment: the 4th is in the key\n8  | AbMaj7\n9  | Fm7     # ii: Dorian, the key’s own notes\n10 | Ab7     # tritone substitute: resolves down a half step to G7\n11 | G7      # III7 in Eb, not resolving: b9 and b13 are in the key\n12 | G7#5    # III7 in Eb, not resolving: b9 and b13 are in the key, the #11 from the symbol\n13 | Gm7b5   # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | C7b9    # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n15 | Fm7     # ii: Dorian, the key’s own notes\n16 | Abm6    # a minor sixth chord: Dorian\n17 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n17 | Cm7     # ii of F7: Dorian\n18 | F7      # extended dominant: V7 of Bb7sus\n18 | Bb7sus  # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n18 | Bb7     # extended dominant: V7 of Eb7\n19 | Eb7     # static dominant: its own mode\n20 | Eb7\n21 | Eb7\n22 | Eb7\n@nav 21 D.S. al Coda\n\nsection: Coda\n1  | Eb7     # static dominant: its own mode\n2  | Eb7\n3  | Eb7\n4  | Eb7\n@coda 1\n",1793484797849]