[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:brigas-nunca-mais":3},"title: Brigas Nunca Mais\ncomposer: Antonio Carlos Jobim\nstyle: Bossa Nova\nkey: B\nform: AA, 36 bars\nrecording: João Gilberto; Chega de Saudade; Odeon; 1959\nyoutube: oEISRIs2stI\n# analysis: 2026-10-28, rules v2; B\n# recording: Odeon MOFB 3073 (1959), arranged by Jobim; the first release, rule 2 (Marlene's Odeon 78 14.503, recorded 1959-02-03, came out in August 1959); sources: Discogs, Marlene 78 data; video: Zebralution \"Provided to YouTube\" upload, João Gilberto Apresenta Chega de Saudade, ℗ 1959, 2:07\n\nsection: A\n1  | B6      # tonic: the 4th is in the key\n2  | A#7     # tritone substitute: resolves down a half step to A7\n3  | A7      # tritone substitute: resolves down a half step to G#7b13\n4  | G#7b13  # V7\u002Fii in B: the b13 is in the key\n5  | C#m7    # ii: Dorian, the key’s own notes\n6  | A6      # ♭VII6, borrowed from B minor: Lydian (its ♯11 is in the key)\n7  | C#m7    # ii of F#7: Dorian\n8  | F#7     # V7\u002FI in B: natural tensions\n9  | D#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | Ddim7   # passing diminished: Db7♭9 without its Db, the Gb7's dominant (C#m7 its ii)\n11 | C#m7    # ii of Gb7: Dorian\n12 | Gb7     # V7\u002FI in B: natural tensions\n13 | G#m7    # ii of C#7: Dorian\n14 | C#7     # V7\u002FV in B: natural tensions\n15 | C#m7    # ii of the ii–V to B\n16 | F#7#5   # V7 of B: #11 and b13 from the symbol\n17 | BMaj7   # tonic: the 4th is in the key\n18 | B7#5    # V7\u002FIV in B: #11 and b13 from the symbol\n19 | EMaj7   # the B7#5 before it makes E the key of the moment: the 4th is in the key\n20 | Em6     # a minor sixth chord: Dorian\n21 | D#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n21 | BMaj7   # tonic: the 4th is in the key\n22 | C#m7    # ii of F#7: Dorian\n22 | F#7     # V7\u002FI in B: natural tensions\n23 | D#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n23 | BMaj7   # tonic: the 4th is in the key\n24 | C#m7    # ii: Dorian, the key’s own notes\n25 | D#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n25 | BMaj7   # tonic: the 4th is in the key\n26 | C#m7    # ii of the ii–V to B\n26 | F#7     # V7 of B: natural tensions\n27 | B6      # tonic: the 4th is in the key\n28 | G9      # static dominant: its own mode\n@coda 8\n@nav 28 D.C. al Coda\n@ending 1 9 16\n@ending 2 17 28\n\nsection: Coda\n1  | BMaj7   # tonic: the 4th is in the key\n2  | B7#5    # V7\u002FIV in B: #11 and b13 from the symbol\n3  | EMaj7   # the B7#5 before it makes E the key of the moment: the 4th is in the key\n4  | Em6     # a minor sixth chord: Dorian\n5  | D#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | BMaj7   # tonic: the 4th is in the key\n6  | C#m7    # ii of F#7: Dorian\n6  | F#7     # V7\u002FI in B: natural tensions\n7  | D#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | BMaj7   # tonic: the 4th is in the key\n8  | C#m7    # ii: Dorian, the key’s own notes\n9  | D#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n9  | BMaj7   # tonic: the 4th is in the key\n10 | C#m7    # ii of F#7: Dorian\n10 | F#7     # V7\u002FI in B: natural tensions\n11 | A7      # ♭VII7 from the parallel minor: Lydian Dominant\n12 | A7\n13 | CMaj7   # ♭IImaj7, borrowed from B Phrygian: Lydian (its ♯11 is in the key)\n14 | CMaj7\n15 | B6      # tonic: the 4th is in the key\n@coda 1\n",1793484798461]