[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:caribe":3},"title: Caribe\ncomposer: Antonio Carlos Jobim\nstyle: Slow Bossa Nova\nkey: D\nform: ABC, 44 bars\nrecording: Antonio Carlos Jobim; Tide; A&M; 1970\nyoutube: LH6sjCOn1s0\n# analysis: 2026-10-28, rules v2; D\n# recording: A&M\u002FCTI SP 3031 (1970), prod. Creed Taylor, arr. Eumir Deodato; the composer's own first recording, rule 1; sources: Discogs; video: Universal Music Group \"Provided to YouTube\" upload, Tide, released 1970-11-01, 2:42\n\nsection: A\n# area: D major (A 1–7)\n1  | Em7     # ii of the ii–V to D\n2  | A7      # V7 of D: natural tensions\n3  | DMaj7   # tonic: the 4th is in the key\n4  | F#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | B7b9    # V7\u002Fii in D: the b13 is in the key, the b9 from the symbol\n5  | Em7     # ii of A7sus: Dorian\n6  | A7sus   # static sus: Mixolydian\n6  | Eb7#11  # tritone substitute: resolves down a half step to DMaj7\n7  | DMaj7   # tonic: the 4th is in the key\n# area: G minor (A 8 – B 12)\n8  | Ebm7    # ii of Ab7: Dorian\n8  | Ab7     # tritone substitute: resolves down a half step to Gm6\u002F9\n9  | Gm6\u002F9   # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n10 | A13b9   # II7 in G minor, not resolving: the b9 is in the key, the 13 from the symbol\n10 | Amb6    # from the symbol: b6\n11 | DMaj9   # a non-tonic major chord: Lydian\n12 | DMaj9\n\nsection: B\n1  | Em7     # a borrowed minor chord: Dorian, its own key\n2  | Em7\n3  | F#m7    # a borrowed minor chord: Dorian, its own key\n4  | F#m7\n5  | Em7     # ii of A7: Dorian\n6  | A7      # extended dominant: V7 of D7sus\n7  | D7sus   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | D7b9    # V7 of G minor: b9 and b13 are in the key\n9  | Gm7     # ii of C7b9: Dorian\n10 | C7b9    # V7\u002FbVII in G minor: the b9 from the symbol\n11 | F#13    # VII7 in G minor, not resolving: b9 and #11 are in the key\n11 | F#7b13  # extended dominant: V7 of B9; b13 from the symbol\n12 | B9      # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n12 | B7b9    # V7\u002Fvi in G minor: b9, #11 and b13 are in the key\n# area: D major (B 13 – Coda 3)\n13 | Em7     # ii of the ii–V to D\n14 | A7      # V7 of D: natural tensions\n15 | DMaj7   # tonic: the 4th is in the key\n16 | DMaj7\n\nsection: C\n1  | Em7     # ii: Dorian, the key’s own notes\n2  | Em7\n3  | F#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | B9sus   # V7sus4 of Em7: the b13 is in the key\n5  | Em7     # ii of A7: Dorian\n6  | A7      # extended dominant: V7 of D7sus\n7  | D7sus   # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | D7b9    # V7\u002Fiv in D: the b9 from the symbol\n9  | Gm7     # ii of C13b9: Dorian\n10 | C13b9   # extended ii–V: a side-step, its own key; b9 from the symbol\n11 | F#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | Fdim7   # passing diminished: a rootless dominant ♭9\n13 | Em7     # ii: Dorian, the key’s own notes\n14 | Eb7     # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n14 | A7      # V7 of D: natural tensions\n15 | DMaj7   # tonic: the 4th is in the key\n16 | DMaj7\n@coda 16\n\nsection: Coda\n1  | Em7     # ii: Dorian, the key’s own notes\n2  | Eb7     # tritone substitute: resolves down a half step to D69\n3  | D69     # tonic: the 4th is in the key\n@coda 1\n",1793484798622]