[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:chorinho-pra-ele":3},"title: Chorinho pra Ele\ncomposer: Hermeto Pascoal\nstyle: Choro\nkey: G\nform: AAB, 49 bars\nrecording: Hermeto Pascoal; Slaves Mass; Warner Bros.; 1977\nyoutube: eSapIT3Ct1c\n# analysis: 2026-10-28, rules v2; G\n# recording: Warner Bros. BS 2980 (1977), as \"Little Cry for Him (Chorinho pra Ele)\", with Ron Carter, Airto Moreira, prod. Airto Moreira and Flora Purim; the composer's own first recording, rule 1; sources: Discogs; video: Hermeto Pascoal's official (verified artist) channel, 2:12, the album take\n\nsection: Intro\n# area: G major (Intro 1–3)\n1  | F9      # extended dominant: V7 of Bb13\n1  | Bb13    # extended dominant: V7 of Eb9\n2  | Eb9     # extended dominant: V7 of Ab13\n2  | Ab13    # extended dominant: V7 of Db9\n3  | Db9     # tritone substitute: resolves down a half step to C9\n# area: F major (Intro 3–4)\n3  | C9      # V7 of F: natural tensions\n4  | FMaj7   # tonic: the 4th is in the key\n# area: G major (Intro 4 – A 8)\n4  | D9      # V7 of G: natural tensions\n\nsection: A\n1  | G6      # tonic: the 4th is in the key\n1  | E7b9    # V7\u002Fii in G: the b13 is in the key, the b9 from the symbol\n2  | Am7     # ii of the ii–V to G\n3  | D13     # V7 of G: natural tensions\n4  | GMaj7   # tonic: the 4th is in the key\n5  | Gdim7   # passing diminished: A7♭9 without its A, the D13's dominant; not functioning diatonically: the symmetric scale\n6  | Am7     # ii of the ii–V to G\n7  | D13     # V7 of G: natural tensions\n8  | GMaj7   # tonic: the 4th is in the key\n8  | G6      # tonic: the 4th is in the key\n# area: Bb major (A 9–10)\n9  | Cm7     # ii of the ii–V to Bb\n9  | F7      # V7 of Bb: natural tensions\n10 | BbMaj7  # tonic: the 4th is in the key\n# area: Ab major (A 11–12)\n11 | Bbm7    # ii of the ii–V to Ab\n11 | Eb7     # V7 of Ab: natural tensions\n12 | AbMaj7  # tonic: the 4th is in the key\n# area: G major (A 13–19)\n13 | Dm7     # ii of the ii–V to C\n13 | G13     # V7\u002FIV in G: natural tensions\n14 | CMaj7   # the G13 before it makes C the key of the moment: the 4th is in the key\n15 | Bm7b5   # iiø7 of E7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n15 | E7b9    # V7\u002Fii in G: the b13 is in the key, the b9 from the symbol\n16 | G#dim7  # vii°7 of Am7: E7♭9 without its root\n16 | Am7     # ii: Dorian, the key’s own notes\n17 | F9      # extended dominant: V7 of Bb13\n17 | Bb13    # extended dominant: V7 of Eb9\n18 | Eb9     # extended dominant: V7 of Ab13\n18 | Ab13    # extended dominant: V7 of Db9\n19 | Db9     # tritone substitute: resolves down a half step to C9\n# area: F major (A 19–21)\n19 | C9      # V7 of F: natural tensions\n20 | FMaj7   # tonic: the 4th is in the key\n20 | D9      # VI7 in F, not resolving: the b13 is in the key\n21 | FMaj7   # tonic: the 4th is in the key\n@ending 1 20\n@ending 2 21\n\nsection: B\n# area: Db major (B 1–9)\n1  | Ebm9    # ii of the ii–V to Db\n1  | Ab13    # V7 of Db: natural tensions\n2  | DbMaj7  # tonic: the 4th is in the key\n2  | Edim7   # passing diminished: Eb7♭9 without its Eb, the Ab13's dominant (Ebm9 its ii)\n3  | Ebm9    # ii of the ii–V to Db\n3  | Ab13    # V7 of Db: natural tensions\n4  | DbMaj7  # tonic: the 4th is in the key\n5  | Gbm9    # iv7 from the parallel minor: Dorian, its notes\n6  | Am9     # a borrowed minor chord: Dorian, its own key\n7  | Cm9     # a borrowed minor chord: Dorian, its own key\n8  | Ebm9    # ii: Dorian, the key’s own notes\n9  | GMaj7   # a non-tonic major chord: Lydian\n",1793484798733]