[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:corcovado":3},"title: Corcovado\ncomposer: Antonio Carlos Jobim\nstyle: Bossa Nova\nkey: C\nform: ABAC, 34 bars\nrecording: Antonio Carlos Jobim; The Composer of Desafinado, Plays; Verve; 1963\nyoutube: 9vRELD9ehtc\n# analysis: 2026-10-28, rules v2; C\n# recording: recorded May 1963, New York, Jobim with Claus Ogerman's orchestra, prod. Creed Taylor (Verve V6-8547); Jobim's own first recording as leader, rule 1, as for the other tunes of this LP in the library; first recorded by João Gilberto on O Amor, o Sorriso e a Flor (Odeon MOFB 3151, 1960, Jobim arranging), and Getz\u002FGilberto (Verve 1964) made it a jazz standard; sources: Discogs, Wikipedia; video: Zebralution \"Provided to YouTube\" upload, The Composer of Desafinado, Plays, 2:26\n\nsection: A1\n1  | D7\u002FA    # II7 in C, not resolving: natural tensions\n2  | D7\u002FA\n3  | Abdim7  # passing diminished: G7♭9 without its G, the C7's dominant (Gm7 its ii)\n4  | Abdim7\n5  | Gm7     # ii of C7: Dorian\n6  | C7      # V7\u002Fiv in C: natural tensions\n7  | Fdim7   # auxiliary diminished: it decorates the chord and returns to it; not functioning diatonically: the symmetric scale\n7  | FMaj7   # IV: the #4 is the key’s 7th\n8  | FMaj7\n\nsection: B\n1  | Fm7     # ii of Bb7: Dorian\n2  | Bb7     # extended ii–V: a side-step, its own key\n3  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | A7b13   # extended dominant: V7 of D7; b13 from the symbol\n5  | D7      # II7 in C, not resolving: natural tensions\n6  | D7\n7  | Dm7     # ii: Dorian, the key’s own notes\n8  | Abdim7  # passing diminished: a rootless dominant ♭9\n\nsection: A2\n1  | D7\u002FA    # II7 in C, not resolving: natural tensions\n2  | D7\u002FA\n3  | Abdim7  # passing diminished: G7♭9 without its G, the C7's dominant (Gm7 its ii)\n4  | Abdim7\n5  | Gm7     # ii of C7: Dorian\n6  | C7      # V7\u002Fiv in C: natural tensions\n7  | Fdim7   # auxiliary diminished: it decorates the chord and returns to it; not functioning diatonically: the symmetric scale\n7  | FMaj7   # IV: the #4 is the key’s 7th\n8  | FMaj7\n\nsection: C\n1  | Fm7     # ii of Bb7#11: Dorian\n2  | Bb7#11  # extended ii–V: a side-step, its own key; #11 from the symbol\n3  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5  | Dm7     # ii of G7: Dorian\n6  | G7      # V7\u002FI in C: natural tensions\n7  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | A7b13   # V7\u002Fii in C: the b13 is in the key\n9  | Dm7     # ii of G7: Dorian\n10 | G7      # V7\u002FI in C: natural tensions\n@coda 10\n\nsection: Coda\n1  | G7      # V7 of C: natural tensions\n2  | C6      # tonic: the 4th is in the key\n@coda 1\n",1793484798868]