[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:gaviota":3},"title: Gaviota\ncomposer: Clare Fischer\nstyle: Medium Latin\nkey: Cm\nform: ABC, 34 bars\nrecording: Clare Fischer; Machaca; MPS; 1980\nyoutube: urBdz1lke9o\n# analysis: 2026-10-19, rules v2; C minor\n# recording: recorded 1979-05-16\u002F17, Capitol Studios, Hollywood, Clare Fischer & Salsa Picante (Gary Foster, Rick Zunigar, David Troncoso, Alex Acuña, Poncho Sanchez), the first recording of it, MPS 15 554 ST (Germany), then Discovery DS-835 in the US; Wikipedia gives 1979\u002F1980\u002F1981 in different places: 1980 for the MPS issue is the best-supported (Wikipedia, MusicBrainz); video: \"Provided to YouTube by Kontor New Media\", Machaca, the same take (not the 2016 ¡Intenso! big-band version)\n# book: Medium Latin (Bolero-Guajira)\n# head is AB; 1st solo on C (indefinitely), 2nd solo on ABC; after solos play the head (AB), then vamp, solo and fade on C\n\n# bar | chord\n# Intro: bars 1–2 are played three times (bar 2 is the 1st–3rd ending), then bar 1 and bar 3 (the 4th ending)\n\nsection: Intro\nbars: 4\n# area: C minor (Intro 1 – A 4)\n1  | Cm      # tonic minor: Dorian by convention\n# book: Cm (add 9), and the same in bar 2 and at C\n1  | Eb9     # bIII7 in C minor, not resolving: natural tensions\n1  | E9      # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n1  | F9      # IV7 in C minor, not resolving: natural tensions\n# F9 on the last eighth, tied into the next bar; F#9 G9 Cm(add 9) on the last beats of bar 2\n2  | F#9     # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n2  | G9      # V7 of C minor: the b13 is in the key, the 9 from the symbol\n2  | Cm      # ii of F9: Dorian\n@ending 1 2\n3  | F9      # V7\u002FbVII in C minor: natural tensions\n# book: (F9) in the 4th ending, the F9 tied over from bar 1\n@ending 2 3\n\nsection: A\n1  | Cm      # tonic minor: Dorian by convention\n2  | Cm\u002FBb   # tonic minor: Dorian by convention\n3  | Ab      # a non-tonic major chord: Lydian\n3  | Fm7     # iv: Dorian, the key’s own notes\n4  | Dm7b5   # iiø7 of G7: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | G7      # V7\u002Fi in C minor: b9 and b13 are in the key\n# area: C major (A 5–16)\n5  | G7b9\u002FC  # V7 of C: the b9 from the symbol\n5  | C6\u002F9    # tonic: the 4th is in the key\n6  | E7#5#9  # V7\u002Fvi in C: the b13 is in the key, b9, #9 and #11 from the symbol\n7  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | G6\u002F9    # a non-tonic major chord: Lydian\n8  | F#m7b5  # #ivø7 in C: Locrian, its own mode (the chord is outside the key)\n# book: F#m11(b5)\n8  | Fm11    # a borrowed minor chord: Dorian, its own key\n9  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | A13b9   # extended dominant: each one falls a fifth into the next: the b9 from the symbol\n11 | D7#9    # V7 of V7: the dominant of the dominant: b9, #9 and #11 from the symbol\n12 | G13b9   # V7 in C, not resolving: the b9 from the symbol\n12 | F7#9    # IV7 in C, not resolving: the #11 is in the key, b9 and #9 from the symbol\n12 | F9#11   # IV7 in C, not resolving: the #11 is in the key\n# bar 12: F7(#9) and F9(#11) on a quarter-note triplet over beats 3–4\n13 | Em7b5   # iiø7 of A7#5b9: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | A7#5b9  # V7\u002Fii in C: the b13 is in the key, b9 and #11 from the symbol\n14 | A9#5    # V7\u002Fii in C: the b13 is in the key, the #11 from the symbol\n# bar 14: the Em7b5 voicing is held into beat 1; A7(b9 #5) then A9(#5)\n15 | Dm11    # ii of G13#9: Dorian\n16 | G13#9   # V7\u002FI in C: b9, #9 and #11 from the symbol\n16 | G7b9    # V7 in C, not resolving: the b9 from the symbol\n# area: C minor (A 16 – B 4)\n16 | G13b5   # V7 of C minor: 9, #11 and 13 from the symbol\n\nsection: B\n1  | Cm      # tonic minor: Dorian by convention\n2  | Cm\u002FBb   # tonic minor: Dorian by convention\n3  | Ab      # a non-tonic major chord: Lydian\n3  | Fm7     # iv: Dorian, the key’s own notes\n4  | Dm7b5   # iiø7 of G7: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | G7      # V7\u002Fi in C minor: b9 and b13 are in the key\n# area: C major (B 5–12)\n5  | G7b9\u002FC  # V7 of C: the b9 from the symbol\n5  | C6\u002F9    # tonic: the 4th is in the key\n6  | E7#5#9  # V7\u002Fvi in C: the b13 is in the key, b9, #9 and #11 from the symbol\n7  | Am7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Am\u002FG    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | B13\u002FF#  # VII7 in C, not resolving: the b9 is in the key, the 13 from the symbol\n8  | F9      # tritone substitute: resolves down a half step to Em7\n9  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | A7#5#9  # extended dominant: each one falls a fifth into the next: b9, #9, #11 and b13 from the symbol\n11 | D9      # V7 of V7: the dominant of the dominant: natural tensions\n12 | G7#5#9  # V7 in C, not resolving: b9, #9, #11 and b13 from the symbol\n# area: C minor (B 13 – C 2)\n13 | E7#5#9  # extended dominant: each one falls a fifth into the next, on the way to C minor: #11 and b13 are in the key, b9 and #9 f…\n14 | A9#5    # extended dominant: each one falls a fifth into the next, on the way to C minor: the b13 is in the key, 9 and #11 from t…\n15 | D9      # V7 of V7: the dominant of the dominant, on the way to C minor: the b13 is in the key, the 9 from the symbol\n16 | D9\n16 | G7#5    # V7 of C minor, the chain's last link: b9 and b13 are in the key, the #11 from the symbol\n\nsection: C\nbars: 4\n1  | Cm      # tonic minor: Dorian by convention\n1  | Eb9     # bIII7 in C minor, not resolving: natural tensions\n1  | E9      # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n1  | F9      # IV7 in C minor, not resolving: natural tensions\n2  | F#9     # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n2  | G9      # V7 of C minor: the b13 is in the key, the 9 from the symbol\n2  | Cm      # tonic minor: Dorian by convention\n# C is the intro's vamp (bars 1–2), repeated\n",1793484799836]