[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:batida-diferente":3},"title: Batida Diferente\ncomposer: Maurício Einhorn, Durval Ferreira\nstyle: Bossa Nova\nkey: C\nform: AABA, 32 bars\nrecording: Tamba Trio; Tamba Trio; Philips; 1962\nyoutube: RTYyfi-HzO8\n# analysis: 2026-10-28, rules v2; C\n# recording: the trio's debut LP, Philips P 632.129 L, A2 (2:00); the earliest recording on Discogs (rule 2; Maurício Einhorn and Durval Ferreira did not record it first); sources: Discogs; video: Tamba Trio - Topic \"Provided to YouTube\" upload (WM Brazil), on the compilation Show de Bola 1962, ℗ 1962 Universal Music, 2:06, the same Philips recording\n\nsection: A1\n# area: G major (A1 1 – B 1)\n1  | GMaj7   # tonic: the 4th is in the key\n1  | G6      # tonic: the 4th is in the key\n2  | Dm7     # ii of the ii–V to C\n2  | G13     # V7\u002FIV in G: natural tensions\n3  | CMaj7   # the G13 before it makes C the key of the moment: the 4th is in the key\n3  | C69     # IV: the #4 is the key’s 7th\n4  | Cm7     # ii of F9: Dorian\n4  | F9      # extended ii–V: a side-step, its own key\n5  | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | Bb13    # tritone substitute: resolves down a half step to Am7\n6  | Am7     # ii: Dorian, the key’s own notes\n6  | Ab13    # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n7  | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | Bb13    # tritone substitute: resolves down a half step to Am7\n8  | Am7     # ii: Dorian, the key’s own notes\n8  | Ab13    # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n9  | Am7     # ii: Dorian, the key’s own notes\n9  | Ab13    # tritone substitute: resolves down a half step to G6\n10 | G6      # tonic: the 4th is in the key\n11 | Bm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n11 | Eb7#11  # tritone substitute: resolves down a half step to Dm7\n@ending 1 6 8\n@ending 2 9 11\n\nsection: B\n1  | Dm7     # ii of G13: Dorian\n1  | G13     # V7\u002FIV in G: natural tensions\n# area: C major (B 2–7)\n2  | Dm7     # ii of the ii–V to C\n2  | G13     # V7 of C: natural tensions\n3  | CMaj7   # tonic: the 4th is in the key\n3  | F13     # IV7 in C, not resolving: the #11 is in the key\n4  | C69     # tonic: the 4th is in the key\n5  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | A13     # extended ii–V: a side-step, its own key\n6  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | A13     # extended ii–V: a side-step, its own key\n7  | Am11    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: G major (B 8 – A2 1)\n8  | Ab13    # tritone substitute: resolves down a half step to GMaj7\n\nsection: A2\n1  | GMaj7   # tonic: the 4th is in the key\n1  | G6      # tonic: the 4th is in the key\n# area: C major (A2 2–6)\n2  | Dm7     # ii of the ii–V to C\n2  | G13     # V7 of C: natural tensions\n3  | CMaj7   # tonic: the 4th is in the key\n3  | C69     # tonic: the 4th is in the key\n4  | Cm7     # ii of F9: Dorian\n4  | F9      # extended ii–V: a side-step, its own key\n5  | Bm7     # a borrowed minor chord: Dorian, its own key\n5  | Bb13    # tritone substitute: resolves down a half step to Am11\n6  | Am11    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: G major (A2 6–8)\n6  | Ab7#11  # tritone substitute: resolves down a half step to G6\n7  | G6      # tonic: the 4th is in the key\n8  | D7b9    # V7 of G: the b9 from the symbol\n",1793484797909]