[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:caminhos-cruzados":3},"title: Caminhos Cruzados\ncomposer: Antonio Carlos Jobim\nstyle: Slow Bossa Nova\nkey: Gb\nform: ABB, 48 bars\nrecording: Sylvia Telles; Silvia; Odeon; 1958\nyoutube: zhCXmxeKeW8\n# analysis: 2026-10-28, rules v2; Gb\n# recording: Odeon MOFB 3034 (1958), side A track 4, arranged by Jobim, prod. Lúcio Rangel; the first release, rule 2 (Funarte names it among the Jobim songs Sylvia Telles introduced; Maysa's Convite para Ouvir Maysa Nº 2, RGE 1958, has it too); João Gilberto's Amoroso (Warner 1977) is the best-known later version; sources: Discogs, Funarte; video: Universal Music Group \"Provided to YouTube\" upload, O Talento de Silvia Telles, ℗ 1958 EMI, 1:53\n\nsection: A\n1  | GbMaj7     # tonic: the 4th is in the key\n2  | Gb7        # V7\u002FIV in Gb: natural tensions\n3  | Cb69\u002FGb    # the Gb7 before it makes Cb the key of the moment: the 4th is in the key\n4  | Cbm6\u002F9\u002FGb  # a minor sixth chord: Dorian\n5  | GbMaj7     # tonic: the 4th is in the key\n6  | Gb7        # V7\u002FIV in Gb: natural tensions\n7  | Cb69\u002FGb    # the Gb7 before it makes Cb the key of the moment: the 4th is in the key\n8  | Cbm6\u002F9\u002FGb  # a minor sixth chord: Dorian\n9  | GbMaj7     # tonic: the 4th is in the key\n10 | F7#5       # VII7 in Gb, not resolving: b9 and b13 are in the key, the #11 from the symbol\n11 | Dbm6\u002FE     # a minor sixth chord: Dorian\n12 | Dbm6\u002FE\n13 | Eb7        # extended dominant: each one falls a fifth into the next: natural tensions\n14 | Eb7\n15 | Ab7        # V7 of V7: the dominant of the dominant: natural tensions\n16 | Db7b9      # V7 of Gb: the b9 from the symbol\n\nsection: B\n1  | GbMaj7     # tonic: the 4th is in the key\n2  | Gb7        # V7\u002FIV in Gb: natural tensions\n3  | Cb69\u002FGb    # the Gb7 before it makes Cb the key of the moment: the 4th is in the key\n4  | Cbm6\u002F9\u002FGb  # a minor sixth chord: Dorian\n5  | GbMaj7     # tonic: the 4th is in the key\n6  | Gb7        # tritone substitute: resolves down a half step to Fm7\n7  | Fm7        # ii of Bb7b9: Dorian\n8  | Bb7b9      # extended ii–V: a side-step, its own key; b9 from the symbol\n9  | CbMaj7     # IV: the #4 is the key’s 7th\n10 | Cm7        # ii of F7: Dorian\n10 | F7         # extended dominant: V7 of Bb7\n11 | Bb7        # extended dominant: V7 of Eb7b13\n12 | Eb7b13     # extended dominant: V7 of Ab7; b13 from the symbol\n13 | Ab7        # II7 in Gb, not resolving: natural tensions\n14 | A7         # tritone substitute: resolves down a half step to Ab7\n15 | Ab7        # V7 of V7: the dominant of the dominant: natural tensions\n16 | Db7        # V7 in Gb, not resolving: natural tensions\n17 | E7         # tritone substitute: resolves down a half step to Eb7b13\n18 | Eb7b13     # extended dominant: each one falls a fifth into the next: the b13 from the symbol\n19 | Ab7        # V7 of V7: the dominant of the dominant: natural tensions\n20 | Db7        # V7 of Gb: natural tensions\n21 | GbMaj7     # tonic: the 4th is in the key\n22 | Cb7        # static dominant: its own mode\n@ending 1 11 16\n@ending 2 17 22\n",1793484798541]