[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:luiza":3},"title: Luiza\ncomposer: Antonio Carlos Jobim\nstyle: Brazilian\nkey: Cm\ntime: 3\u002F4\nform: ABA, 45 bars\nrecording: Edu Lobo and Tom Jobim; Edu & Tom; Philips; 1981\nyoutube: m4M5M7JewSs\n# analysis: 2026-10-28, rules v2; C minor\n# recording: Philips 6328 378, prod. Aloysio de Oliveira, Edu Lobo and Jobim (vocals); written for TV Globo's novela Brilhante (1981); the composer's first album release (rule 1); Jobim's own studio version followed on Passarim (Verve 1987); sources: MusicBrainz, jobim.org; video: Universal Music Group \"Provided to YouTube\" upload, Edu & Tom, Tom & Edu, ℗ 1981, 2:59\n\nsection: A1\n# area: C minor (A1 1–12)\n1  | Cm9       # ii of F13: Dorian\n2  | F13       # V7\u002FbVII in C minor: natural tensions\n3  | Fm7       # iv: Dorian, the key’s own notes\n4  | G7b9      # V7 of C minor: b9 and b13 are in the key\n5  | CmMaj7    # from the symbol: minor-major 7th\n5  | Cm7       # ii of F7: Dorian\n6  | F7        # V7\u002FbVII in C minor: natural tensions\n7  | Fm7       # iv: Dorian, the key’s own notes\n8  | C7b9      # V7\u002Fiv in C minor: the b13 is in the key, the b9 from the symbol\n9  | FmMaj7    # from the symbol: minor-major 7th\n9  | Fm7       # ii of Bb7sus: Dorian\n10 | Bb7sus    # ♭VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n10 | Bb7       # V7\u002FbIII in C minor: natural tensions\n11 | EbMaj7#5  # from the symbol: #5\n12 | EbMaj7    # bIII of C minor: the relative major itself\n# area: C major (A1 13–16)\n13 | Dm7b5     # iiø7 of C: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | G7b9      # V7 of C: the b9 from the symbol\n15 | CMaj7     # tonic: the 4th is in the key\n16 | Gm7b5     # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n16 | C7b9      # V7\u002Fiv in C: the b9 from the symbol\n\nsection: B\n# area: C minor (B 1 – A2 20)\n1  | FmMaj7    # from the symbol: minor-major 7th\n2  | Bb7       # V7\u002FbIII in C minor: natural tensions\n3  | EbMaj7#5  # from the symbol: #5\n4  | EbMaj7    # bIII of C minor: the relative major itself\n5  | Am7b5     # iiø7 of D7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | D7b9      # V7\u002Fv in C minor: b9 and b13 are in the key\n7  | Dm7       # ii of G7: Dorian\n8  | G7        # extended ii–V: a side-step, its own key\n9  | Db7#11    # tritone substitute: resolves down a half step to Cm9\n\nsection: A2\n1  | Cm9       # ii of F13: Dorian\n2  | F13       # V7\u002FbVII in C minor: natural tensions\n3  | Fm7       # iv: Dorian, the key’s own notes\n4  | G7b9      # V7 of C minor: b9 and b13 are in the key\n5  | CmMaj7    # from the symbol: minor-major 7th\n5  | Cm7       # ii of F7: Dorian\n6  | F7        # V7\u002FbVII in C minor: natural tensions\n7  | Fm7       # iv: Dorian, the key’s own notes\n8  | C7b9      # V7\u002Fiv in C minor: the b13 is in the key, the b9 from the symbol\n9  | FmMaj7    # from the symbol: minor-major 7th\n9  | Fm7       # ii of Bb7sus: Dorian\n10 | Bb7sus    # ♭VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n10 | Bb7       # bVII7 in C minor, not resolving: natural tensions\n11 | Bbm7      # ii of Eb7sus: Dorian\n12 | Eb7sus    # ♭III7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | Eb7b9     # V7\u002FbVI in C minor: the b9 from the symbol\n13 | AbMaj7    # a non-tonic major chord: Lydian\n14 | Fm7       # iv: Dorian, the key’s own notes\n14 | Fm7\u002FEb    # iv: Dorian, the key’s own notes\n15 | D7b9      # V7 of V7: the dominant of the dominant: the b9 from the symbol\n16 | G7b9b13   # V7 in C minor, not resolving: b9 and b13 are in the key\n17 | AbMaj7    # a non-tonic major chord: Lydian\n18 | DbMaj7    # a non-tonic major chord: Lydian\n19 | Dm11      # ii of the ii–V to C minor\n20 | G7b9b13   # V7 of C minor: b9 and b13 are in the key\n",1793484801055]