[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:doce-presenca":3},"title: Doce Presença\ncomposer: Ivan Lins\nstyle: Slow Bossa Nova\nkey: E\nform: AABACC, 40 bars\nrecording: Ivan Lins; Depois dos Temporais; Philips; 1983\nyoutube: 3E3lHqxkU_c\n# analysis: 2026-10-28, rules v2; E\n# recording: Philips 812 552-1 (1983); the composer's own first recording, rule 1; sources: Discogs; video: Universal Music Group \"Provided to YouTube\" upload, Depois dos Temporais, ℗ 1983, 4:16\n\nsection: Intro\n# area: E major (Intro 1 – B 2)\n1 | F#m7      # ii: Dorian, the key’s own notes\n1 | AMaj7\u002FB   # IV: the #4 is the key’s 7th\n1 | B9        # V7 of E: natural tensions\n2 | EMaj7     # tonic: the 4th is in the key\n2 | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | F#m7      # ii: Dorian, the key’s own notes\n3 | AMaj7\u002FB   # IV: the #4 is the key’s 7th\n3 | B9        # V7 of E: natural tensions\n4 | EMaj7     # tonic: the 4th is in the key\n4 | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n\nsection: A1\n1 | F#m9      # ii: Dorian, the key’s own notes\n1 | AMaj7\u002FB   # IV: the #4 is the key’s 7th\n1 | B9        # V7 of E: natural tensions\n2 | EMaj9     # tonic: the 4th is in the key\n2 | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3 | F#m9      # ii: Dorian, the key’s own notes\n3 | AMaj7\u002FB   # IV: the #4 is the key’s 7th\n3 | B9        # V7 of E: natural tensions\n4 | EMaj9     # tonic: the 4th is in the key\n4 | D#m11     # ii of the ii–V to C# minor\n4 | G#7b9#5   # V7\u002Fvi in E: b9 and b13 are in the key, the #11 from the symbol\n5 | C#m9\u002FG#   # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | C#m9      # ii of F#13sus: Dorian\n5 | F#13sus   # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n5 | F#13#11   # II7 in E, not resolving: the #11 from the symbol\n6 | C#m9\u002FG#   # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | C#m9      # ii of F#13sus: Dorian\n6 | F#13sus   # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6 | F#13#11   # II7 in E, not resolving: the #11 from the symbol\n7 | AMaj7     # IV: the #4 is the key’s 7th\n7 | G#m7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | F#m7      # ii of the ii–V to E\n7 | Bsus      # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n8 | EMaj7     # tonic: the 4th is in the key\n8 | C#7b9#11  # V7\u002Fii in E: b9, #11 and 13 from the symbol\n\nsection: A2\ncopy: A1\n\nsection: B\n1 | Am9       # ii of D7: Dorian\n1 | D7        # extended dominant: V7 of G13sus\n2 | G13sus    # ♭III7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: C major (B 2–5)\n2 | G13       # V7 of C: natural tensions\n3 | CMaj7     # tonic: the 4th is in the key\n3 | Bm7       # ii of the ii–V to A minor\n3 | E7        # V7\u002Fvi in C: b9 and b13 are in the key\n4 | Am        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | F#m7b5    # #ivø7 in C: Locrian, its own mode (the chord is outside the key)\n5 | Cm6       # a minor sixth chord: Dorian\n# area: E major (B 5 – Coda 4)\n5 | B7        # V7 of E: natural tensions\n6 | EMaj7     # tonic: the 4th is in the key\n6 | G#7       # V7\u002Fvi in E: b9 and b13 are in the key\n6 | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7 | G#m7b5    # iiø7 of C#9sus: Locrian, the key's own notes (its ♭2 is a passing note)\n8 | C#9sus    # VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8 | C#13      # VI7 in E, not resolving: the 13 from the symbol\n8 | C#7       # V7\u002Fii in E: the b13 is in the key\n@segno 1\n\nsection: A3\n1 | F#m9      # ii: Dorian, the key’s own notes\n1 | AMaj7\u002FB   # IV: the #4 is the key’s 7th\n1 | B9        # V7 of E: natural tensions\n2 | EMaj9     # tonic: the 4th is in the key\n2 | E\u002FD       # tonic: the 4th is in the key\n2 | C#7       # V7\u002Fii in E: the b13 is in the key\n3 | F#m9      # ii: Dorian, the key’s own notes\n3 | AMaj7\u002FB   # IV: the #4 is the key’s 7th\n3 | B9        # V7 of E: natural tensions\n4 | EMaj9     # tonic: the 4th is in the key\n4 | D#m7      # ii of the ii–V to C# minor\n4 | G#7       # V7\u002Fvi in E: b9 and b13 are in the key\n5 | C#m9\u002FG#   # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5 | C#m9      # ii of F#13sus: Dorian\n5 | F#13sus   # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n5 | F#13#11   # II7 in E, not resolving: the #11 from the symbol\n6 | C#m9\u002FG#   # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n6 | C#m9      # ii of F#13: Dorian\n6 | F#13      # V7\u002FV in E: natural tensions\n6 | F#13#11   # II7 in E, not resolving: the #11 from the symbol\n7 | AMaj7     # IV: the #4 is the key’s 7th\n7 | G#m7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | F#m7      # ii of the ii–V to E\n7 | B9sus     # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n8 | EMaj7     # tonic: the 4th is in the key\n8 | Esus      # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8 | E7        # V7\u002FIV in E: natural tensions\n@coda 7\n\nsection: C\n1 | A         # the E7 before it makes A the key of the moment: the 4th is in the key\n1 | B\u002FA       # V without its 7th: Mixolydian, the key’s own notes\n2 | A         # IV: the #4 is the key’s 7th\n2 | B\u002FA       # V without its 7th: Mixolydian, the key’s own notes\n3 | E\u002FG#      # tonic: the 4th is in the key\n3 | E9        # V7\u002FIV in E: natural tensions\n3 | AMaj7     # the E9 before it makes A the key of the moment: the 4th is in the key\n3 | D9        # back door bVII7 to EMaj9: the #11 is in the key\nalt 3 | E\u002FG#      # tonic: the 4th is in the key\nalt 3 | C#m11     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\nalt 3 | AMaj7     # IV: the #4 is the key’s 7th\nalt 3 | EMaj9     # tonic: the 4th is in the key\n4 | EMaj9     # tonic: the 4th is in the key\n4 | E13sus    # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4 | E13#11    # I7 in E, not resolving: the #11 from the symbol\n5 | EMaj9     # tonic: the 4th is in the key\n5 | Badd9\u002FD#  # V without its 7th: Mixolydian, the key’s own notes\n5 | E\u002FD       # tonic: the 4th is in the key\n5 | C#7b9#11  # V7\u002Fii in E: b9, #11 and 13 from the symbol\n@nav 5 D.S. al Coda\n@ending 1 4\n@ending 2 5\n\nsection: Coda\n1 | EMaj7     # tonic: the 4th is in the key\n1 | E13sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\nalt 1 | EMaj7     # tonic: the 4th is in the key\nalt 1 | E13sus    # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\nalt 1 | E13#11    # V7\u002FIV in E: the #11 from the symbol\n2 | AMaj7     # IV: the #4 is the key’s 7th\n2 | G#m7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | F#m7      # ii of the ii–V to E\n2 | Bsus      # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n3 | EMaj7     # tonic: the 4th is in the key\n3 | AMaj7     # IV: the #4 is the key’s 7th\n3 | DMaj7     # ♭VIImaj7, borrowed from E minor: Lydian (its ♯11 is in the key)\n3 | GMaj7     # ♭IIImaj7, borrowed from E minor: Lydian (its ♯11 is in the key)\n4 | CMaj7     # ♭VImaj7, borrowed from E minor: Lydian (its ♯11 is in the key)\n4 | FMaj7     # ♭IImaj7, borrowed from E Phrygian: Lydian (its ♯11 is in the key)\n4 | EMaj9#11  # from the symbol: #11\n@coda 1\n",1793484799194]