[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:eu-sei-que-vou-te-amar":3},"title: Eu Sei Que Vou Te Amar\ncomposer: Antonio Carlos Jobim, Vinicius de Moraes\nstyle: Slow Bossa Nova\nkey: C\nform: ABAC, 32 bars\nrecording: Maysa; Maysa é Maysa... é Maysa, é Maysa; RGE; 1959\nyoutube: y0NtV3Etcpg\n# analysis: 2026-10-28, rules v2; C\n# recording: Maysa with Orquestra RGE (RGE XRLP 5068); the first recording, which made the song known (rule 2); Jobim's own recordings came only in the 1980s (Inédito, 1987); sources: Wikipedia, MusicBrainz; video: Som Livre \"Provided to YouTube\" upload, Maysa é Maysa... é Maysa, é Maysa, 3:10\n\nsection: A1\n1 | CMaj7   # tonic: the 4th is in the key\n2 | Cdim7   # passing diminished: D7♭9 without its D, the G13's dominant; not functioning diatonically: the symmetric scale\n3 | Dm7     # ii of G13: Dorian\n4 | G13     # V7\u002FI in C: natural tensions\n5 | Gm7     # ii of the ii–V to F\n6 | C7      # V7\u002FIV in C: natural tensions\n7 | FMaj7   # the C7 before it makes F the key of the moment: the 4th is in the key\n8 | Bb7#11  # ♭VII7 from the parallel minor: Lydian Dominant\n\nsection: B\n1 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | Ebdim7  # passing diminished: D7♭9 without its D, the G7's dominant (Dm7 its ii)\n3 | Dm7     # ii of G7: Dorian\n4 | G7      # V7\u002FI in C: natural tensions\n5 | E7      # extended dominant: each one falls a fifth into the next: natural tensions\n6 | A7b9    # extended dominant: each one falls a fifth into the next: the b9 from the symbol\n7 | D7      # V7 of V7: the dominant of the dominant: natural tensions\n8 | G7b13   # V7 of C: the b13 from the symbol\n\nsection: A2\ncopy: A1\n\nsection: C\n1 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2 | Ebdim7  # passing diminished: B7♭9 without its B, the Em7b5's dominant\n3 | Em7b5   # iiø7 of A7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n4 | A7b9    # extended dominant: each one falls a fifth into the next: the b9 from the symbol\n5 | D7      # V7 of V7: the dominant of the dominant: natural tensions\n6 | G7      # V7 of C: natural tensions\n7 | CMaj7   # tonic: the 4th is in the key\n8 | Gb13    # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n@coda 6\n@nav 8 D.C. al Coda\n\nsection: Coda\n1 | AbMaj7  # ♭VImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n2 | DbMaj7  # ♭IImaj7, borrowed from C Phrygian: Lydian (its ♯11 is in the key)\n3 | CMaj7   # tonic: the 4th is in the key\n@coda 1\n",1793484799454]