[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:doralice":3},"title: Doralice\ncomposer: Dorival Caymmi, Antônio Almeida\nstyle: Samba\nkey: Eb\nform: AAAAB, 48 bars\nrecording: Stan Getz and João Gilberto; Getz\u002FGilberto; Verve; 1964\nyoutube: hU3IUUIZxEg\n# analysis: 2026-10-28, rules v2; Eb\n# recording: recorded 1963-03-18\u002F19, A&R Studios, New York, prod. Creed Taylor (Verve V6-8545); rule 2, the jazz reference; a 1940s samba from the 78 era (no confident first LP), and João Gilberto sang it first in bossa nova on O Amor, o Sorriso e a Flor (Odeon MOFB 3151, 1960); sources: Discogs, Wikipedia (Getz\u002FGilberto); video: Universal Music Group \"Provided to YouTube\" upload, Getz\u002FGilberto, 2:47\n\nsection: Intro\n# area: Eb major (Intro 1 – A1 5)\n1  | Am7b5   # #ivø7 in Eb: Locrian, its own mode (the chord is outside the key)\n1  | Abm6    # a minor sixth chord: Dorian\n2  | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | C7b9    # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n3  | Fm7     # ii of Bb13: Dorian\n3  | Bb13    # V7\u002FI in Eb: natural tensions\n4  | Bbm7    # ii of the ii–V to Ab\n4  | Eb9     # V7\u002FIV in Eb: natural tensions\n5  | AbMaj7  # the Eb9 before it makes Ab the key of the moment: the 4th is in the key\n5  | D7      # V7\u002Fiii in Eb: b9 and b13 are in the key\n6  | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | C7b9    # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n7  | Fm7     # ii: Dorian, the key’s own notes\n7  | E9      # tritone substitute: resolves down a half step to Eb69\n8  | Eb69    # tonic: the 4th is in the key\n8  | Bb7#5   # V7 of Eb: #11 and b13 from the symbol\n\nsection: A1\n1  | EbMaj7  # tonic: the 4th is in the key\n1  | Eb69    # tonic: the 4th is in the key\n2  | F13     # II7 in Eb, not resolving: natural tensions\n2  | F7b13   # extended dominant: V7 of Bb7sus; b13 from the symbol\n3  | Bb7sus  # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n3  | Bb9     # V7 of Eb: natural tensions\n4  | EbMaj7  # tonic: the 4th is in the key\n5  | EbMaj7\n# area: Bb major (A1 5–8)\n5  | F7      # V7 of Bb: natural tensions\n6  | BbMaj7  # tonic: the 4th is in the key\n6  | Dbdim7  # passing diminished: C7♭9 without its C, the F13's dominant (Cm7 its ii)\n7  | Cm7     # ii of F13: Dorian\n7  | F13     # extended dominant: V7 of Bb7sus\n8  | Bb7sus  # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Eb major (A1 8 – A3 5)\n8  | Bb7     # V7 of Eb: natural tensions\n@segno 1\n\nsection: A2\n1  | EbMaj7  # tonic: the 4th is in the key\n1  | Eb69    # tonic: the 4th is in the key\n2  | F13     # II7 in Eb, not resolving: natural tensions\n2  | F7b13   # extended dominant: V7 of Bb7sus; b13 from the symbol\n3  | Bb7sus  # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n3  | Bb7     # extended dominant: V7 of Eb7sus\n4  | Eb7sus  # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | Eb7b9   # V7\u002FIV in Eb: the b9 from the symbol\n5  | AbMaj7  # the Eb7b9 before it makes Ab the key of the moment: the 4th is in the key\n5  | Db7     # ♭VII7 from the parallel minor: Lydian Dominant\n6  | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | C7b9    # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n7  | Fm7     # ii of the ii–V to Eb\n7  | Bb7     # V7 of Eb: natural tensions\n8  | EbMaj7  # tonic: the 4th is in the key\n8  | Eb69    # tonic: the 4th is in the key\n\nsection: A3\ncopy: A1\n\nsection: A4\ncopy: A2\n\nsection: B\n1  | Fm7     # ii of the ii–V to Eb\n1  | Bb7     # V7 of Eb: natural tensions\n2  | EbMaj7  # tonic: the 4th is in the key\n2  | Eb69    # tonic: the 4th is in the key\n3  | Dm7     # ii of the ii–V to C minor\n3  | G7      # V7\u002Fvi in Eb: b9 and b13 are in the key\n4  | Cm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5  | Fm7     # ii of the ii–V to Eb\n5  | Bb7     # V7 of Eb: natural tensions\n6  | EbMaj7  # tonic: the 4th is in the key\n6  | Gbdim7  # passing diminished: F7♭9 without its F, the Bb7's dominant (Fm7 its ii)\n7  | Fm7     # ii of the ii–V to Eb\n7  | Bb7     # V7 of Eb: natural tensions\n8  | EbMaj7  # tonic: the 4th is in the key\n8  | Gbdim7  # passing diminished: F7♭9 without its F, the Bb9's dominant (Fm7 its ii)\n9  | Fm7     # ii of the ii–V to Eb\n9  | Bb9     # V7 of Eb: natural tensions\n10 | EbMaj7  # tonic: the 4th is in the key\n10 | Gbdim7  # passing diminished: F7♭9 without its F, the Bb7's dominant (Fm7 its ii)\n11 | Fm7     # ii of Bb7: Dorian\n11 | Bb7     # extended dominant: V7 of Eb7sus\n12 | Eb7sus  # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | Eb7b9   # V7\u002FIV in Eb: the b9 from the symbol\n13 | AbMaj7  # the Eb7b9 before it makes Ab the key of the moment: the 4th is in the key\n13 | Db7     # ♭VII7 from the parallel minor: Lydian Dominant\n14 | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | C7b9    # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n15 | Fm7     # ii of the ii–V to Eb\n15 | Bb7     # V7 of Eb: natural tensions\n16 | Eb69    # tonic: the 4th is in the key\n16 | Eb7b9   # I7 in Eb, not resolving: the b9 from the symbol\n@nav 16 D.S. al Coda\n@coda 16\n\nsection: Coda\n1  | Am7b5   # #ivø7 in Eb: Locrian, its own mode (the chord is outside the key)\n1  | Abm6    # a minor sixth chord: Dorian\n2  | Gm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | C7b9    # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n3  | Fm7     # ii of the ii–V to Eb\n3  | Bb13    # V7 of Eb: natural tensions\n4  | EbMaj7  # tonic: the 4th is in the key\n@coda 1\n",1793484799290]