[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:juntos":3},"title: Juntos\ncomposer: Ivan Lins\nstyle: Slow Bossa Nova\nkey: F\nform: AAB, 58 bars\nrecording: Ivan Lins; Juntos; Philips; 1984\nyoutube: a5HC6olMU3c\n# analysis: 2026-10-28, rules v2; F\n# recording: with George Benson, prod. Gilson Peranzzetta (Philips 822 672); the composer's own first recording, title song of the album marking ten years with Vitor Martins (rule 1); sources: MusicBrainz, Rolling Stone Brasil; video: Universal Music Group \"Provided to YouTube\" upload, Juntos, 4:34\n\nsection: Intro\n1  | N.C.\n2  | N.C.\n3  | N.C.\n4  | N.C.\n5  | N.C.\n6  | N.C.\n# area: F major (Intro 7 – B 8)\n7  | F\u002FEb      # tonic: the 4th is in the key\n7  | D7#9      # extended dominant: V7 of G9; b9, #9 and #11 from the symbol\n7  | G9        # II7 in F, not resolving: natural tensions\n8  | G9#11     # extended dominant: V7 of C13sus; #11 from the symbol\n8  | C13sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n9  | N.C.\n10 | N.C.\n11 | N.C.\n12 | N.C.\n\nsection: A1\n1  | FMaj7     # tonic: the 4th is in the key\n1  | F6        # tonic: the 4th is in the key\n2  | C9sus     # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2  | C9        # V7 of F: natural tensions\n3  | FMaj7     # tonic: the 4th is in the key\n3  | F6        # tonic: the 4th is in the key\n4  | C9sus     # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | C9        # V7 of F: natural tensions\n5  | FMaj7     # tonic: the 4th is in the key\n5  | F6        # tonic: the 4th is in the key\n6  | F13sus    # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6  | F9        # V7\u002FIV in F: natural tensions\n7  | BbMaj7    # the F9 before it makes Bb the key of the moment: the 4th is in the key\n8  | Bm7b5     # iiø7 of A minor: Locrian, the key's own notes (its ♭2 is a passing note)\n8  | E7#5      # V7\u002Fiii in F: b9 and b13 are in the key, the #11 from the symbol\nalt 8  | Bm7b5     # #ivø7 in F: Locrian, its own mode (the chord is outside the key)\nalt 8  | F7        # tritone substitute: resolves down a half step to E7#5\nalt 8  | E7#5      # V7\u002Fiii in F: b9 and b13 are in the key, the #11 from the symbol\n9  | Am7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | Dm9       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n11 | Gm7       # ii: Dorian, the key’s own notes\n12 | D9sus     # V7sus4 of Gm7: the b13 is in the key\n13 | Gm7       # ii: Dorian, the key’s own notes\n14 | D9sus     # V7sus4 of Gm7: the b13 is in the key\n15 | Gm7       # ii of C9sus: Dorian\n16 | C9sus     # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n16 | C9        # extended dominant: V7 of F9sus\n17 | F9sus     # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n18 | F9        # extended dominant: V7 of Bb13sus\n19 | Bb13sus   # IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n19 | Bb13      # extended dominant: V7 of Eb9sus\n20 | Eb9sus    # ♭VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n20 | Eb9       # back door bVII7 to FMaj7: the #11 is in the key\n@segno 1\n\nsection: A2\ncopy: A1\n\nsection: B\n1  | FMaj7     # tonic: the 4th is in the key\n2  | Dm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n3  | BbMaj7\u002FD  # IV: the #4 is the key’s 7th\n4  | C13sus    # static sus: Mixolydian\n4  | Bbm9      # iv7 from the parallel minor: Dorian, its notes\n5  | Am7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Dm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Bm7       # ii of E9sus: Dorian\n8  | E9sus     # VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: A major (B 8–9)\n8  | E9        # V7 of A: natural tensions\n9  | AMaj7     # tonic: the 4th is in the key\n# area: Gb major (B 10–12)\n10 | Abm7      # ii of the ii–V to Gb\n10 | Db7       # V7 of Gb: natural tensions\n11 | GbMaj7    # tonic: the 4th is in the key\n12 | Bb13sus   # III7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Eb major (B 12–16)\n12 | Bb13      # V7 of Eb: natural tensions\n13 | EbMaj7    # tonic: the 4th is in the key\n14 | Cm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n14 | Bbm7      # a borrowed minor chord: Dorian, its own key\n15 | Am7       # ii of D13: Dorian\n16 | D13       # extended ii–V: a side-step, its own key\n# area: F major (B 17–18)\n17 | Dm7\u002FA     # ii of G7\u002FD: Dorian\n17 | G7\u002FD      # V7\u002FV in F: natural tensions\n18 | Gm7       # ii of the ii–V to F\n18 | C7        # V7 of F: natural tensions\n@nav 18 D.S. al Fine\n",1793484800624]