[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:chega-de-saudade":3},"title: Chega de Saudade\naka: No More Blues\ncomposer: Antonio Carlos Jobim\nstyle: Bossa nova\nkey: Dm\nform: ABCD, 68 bars\nrecording: João Gilberto; Chega de Saudade; Odeon; 1959\nyoutube: Y0a0QuLEC8A\n# analysis: 2026-10-19, rules v2; D minor\n# recording: recorded 1958-07-10, arranged by Jobim, first issued on the Odeon 78 14.360 (with \"Bim Bom\"), first LP Odeon MOFB 3073 (1959); Jobim's first recording of it was as arranger for Elizete Cardoso (Canção do Amor Demais, Festa 1958), but João Gilberto's is the definitive reference jazz players know; chart names no version; sources Wikipedia (Chega de Saudade album), MusicBrainz (MOFB 3073 track list); video: Topic upload, album \"João Gilberto Apresenta Chega de Saudade\" ℗ 1959, 2:03 against the LP's 2:02, the same take\n\n# A and B in D minor, C and D in D major\n# printed A13sus (D bar 14): written A9sus4, the nearest symbol the library reads\n# bar | chord\n\nsection: A\nbars: 16\n# area: D minor (A 1 – B 15)\n1  | Dm       # tonic minor: Dorian by convention\n# alt (optional): bar 2 (Dm7\u002FC)\n3  | E7       # V7 of V7: the dominant of the dominant, on the way to D minor: b9 and b13 are in the key\n# alt (optional): bar 3 (E7\u002FB)\n5  | A7b9#5   # V7 of D minor, the chain's last link: b9 and b13 are in the key, the #11 from the symbol\n# alt (optional): bar 5 (Bbm6)\n7  | Dm       # tonic minor: Dorian by convention\n8  | Em7b5    # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n8  | A7       # V7 of D minor: b9 and b13 are in the key\n9  | Dm       # tonic minor: Dorian by convention\n10 | Bm7b5    # iiø7 of A minor: Locrian, the key's own notes (its ♭2 is a passing note)\n10 | E7       # V7\u002Fv in D minor: b9 and b13 are in the key\n11 | Am       # v of a minor key: Phrygian, the key's own notes (its ♭2 is a passing note)\n13 | BbMaj7   # a non-tonic major chord: Lydian\n14 | Bb6      # a non-tonic major chord: Lydian\n15 | A7b9     # V7 of D minor: b9 and b13 are in the key\n\nsection: B\n1  | Dm       # tonic minor: Dorian by convention\n# alt (optional): bar 2 (Dm7\u002FC)\n3  | E7       # V7 of V7: the dominant of the dominant, on the way to D minor: b9 and b13 are in the key\n# alt (optional): bar 3 (E7\u002FB)\n5  | A7b9#5   # V7 of D minor, the chain's last link: b9 and b13 are in the key, the #11 from the symbol\n# alt (optional): bar 5 (Bbm6)\n7  | Dm       # tonic minor: Dorian by convention\n# alt (optional): bar 7 (D7)\n8  | D7b9     # V7\u002Fiv in D minor: the b13 is in the key, the b9 from the symbol\n9  | Gm       # iv: Dorian, the key’s own notes\n10 | A7       # V7 of D minor: b9 and b13 are in the key\n11 | Dm       # tonic minor: Dorian by convention\n# alt (optional): bar 12 (Dm7\u002FC)\n13 | E7b9     # V7 of V7: the dominant of the dominant, on the way to D minor: b9 and b13 are in the key\n# alt (optional): bar 13 (Bdim7)\n14 | A7b9#5   # V7 of D minor, the chain's last link: b9 and b13 are in the key, the #11 from the symbol\n# alt (optional): bar 14 (Bbm6)\n15 | Dm       # tonic minor: Dorian by convention\n# area: D major (B 16 – D 19)\n16 | Em7      # ii of the ii–V to D\n16 | A7       # V7 of D: natural tensions\n@key 16 D\n\nsection: C\nkey: D\n1  | DMaj7    # tonic: the 4th is in the key\n2  | B7#5\u002FD#  # V7\u002Fii in D: the b13 is in the key, the #11 from the symbol\n3  | Em7      # ii of A9sus: Dorian\n5  | A9sus    # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6  | A7       # V7 of D: natural tensions\n7  | Ddim7    # auxiliary diminished: it decorates the chord and returns to it\n8  | DMaj7    # tonic: the 4th is in the key\n9  | F#m7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | Fdim7    # passing diminished: a rootless dominant ♭9\n11 | Em7      # ii: Dorian, the key’s own notes\n13 | E9       # II7 in D, not resolving: natural tensions\n15 | Gm6      # a minor sixth chord: Dorian\n16 | A7       # V7 of D: natural tensions\n\nsection: D\nkey: D\nbars: 20\n1  | DMaj7    # tonic: the 4th is in the key\n2  | Bm7      # ii of E7: Dorian\n3  | E7       # V7\u002FV in D: natural tensions\n5  | F#7      # V7\u002Fvi in D: b9 and b13 are in the key\n7  | Bm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Bbm7     # a borrowed minor chord: Dorian, its own key\n8  | Am7      # ii of the ii–V to G\n8  | D7       # V7\u002FIV in D: natural tensions\n9  | GMaj7    # the D7 before it makes G the key of the moment: the 4th is in the key\n10 | Gm7      # a borrowed minor chord: Dorian, its own key\n11 | F#m7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | B13      # extended ii–V: a side-step, its own key\n12 | B7#5     # extended dominant: V7 of E9; #11 and b13 from the symbol\n13 | E9       # extended dominant: V7 of A9sus4\n14 | A9sus4   # static sus: Mixolydian\n15 | F#m7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n# alt (optional): bar 15 (F#7)\n16 | B7#5     # extended dominant: V7 of E9; #11 and b13 from the symbol\n17 | E9       # extended dominant: V7 of A9sus\n18 | A9sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n19 | D6       # tonic: the 4th is in the key\n# alt (optional): bar 20 (A7#5), back to the top\n",1793484798673]