[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:luz-de-sol":3},"title: Luz do Sol\ncomposer: Caetano Veloso\nstyle: Slow Bossa Nova\nkey: Bb\nform: ABABC, 48 bars\nrecording: Gal Costa; Minha Voz; Philips; 1982\nyoutube: kE4O7cw0ixY\n# analysis: 2026-10-28, rules v2; Bb\n# recording: the song's first release (rule 2: Caetano's own studio version first appears on a 1983 compilation, his Nonesuch album was recorded September 1985); sources: MusicBrainz, Pesquisa FAPESP; video: Universal Music Group \"Provided to YouTube\" upload, album Minha Voz, 4:06\n\nsection: Intro\n# area: Bb major (Intro 1 – A1 2)\n1  | BbMaj9     # tonic: the 4th is in the key\n2  | EbMaj9     # IV: the #4 is the key’s 7th\n3  | Dm9        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | Cm9        # ii of F13sus: Dorian\n5  | F13sus     # static sus: Mixolydian\n6  | F7sus4b9   # from the symbol: sus b9\n@coda 6\n\nsection: A1\n1  | BbMaj9     # tonic: the 4th is in the key\n1  | Bb13sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\nalt 1  | BbMaj9     # tonic: the 4th is in the key\nalt 1  | Bb13sus    # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\nalt 1  | Bb13       # V7\u002FIV in Bb: natural tensions\n2  | EbMaj9     # IV: the #4 is the key’s 7th\n2  | Ab13#11    # ♭VII7 from the parallel minor: Lydian Dominant\n# area: Gb major (A1 3–5)\n3  | Dm9        # ii of G13#11: Dorian\n3  | G13#11     # tritone substitute: resolves down a half step to GbMaj9\n4  | GbMaj9     # tonic: the 4th is in the key\n4  | GbMaj7     # tonic: the 4th is in the key\n4  | Ebm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5  | BbMaj7     # a non-tonic major chord: Lydian\n5  | Dm9        # a borrowed minor chord: Dorian, its own key\n# area: Bb major (A1 5–7)\n5  | Cm7        # ii of the ii–V to Bb\n5  | F7         # V7 of Bb: natural tensions\nalt 5  | BbMaj7     # a non-tonic major chord: Lydian\nalt 5  | Dm9        # a borrowed minor chord: Dorian, its own key\nalt 5  | Cm7        # ii of the ii–V to Bb\nalt 5  | F7sus      # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n6  | BbMaj9     # tonic: the 4th is in the key\n6  | Bb13sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\nalt 6  | BbMaj9     # tonic: the 4th is in the key\nalt 6  | Bb13sus    # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\nalt 6  | Bb13       # V7\u002FIV in Bb: natural tensions\n7  | EbMaj9     # IV: the #4 is the key’s 7th\n7  | Ab13#11    # ♭VII7 from the parallel minor: Lydian Dominant\nalt 7  | EbMaj9     # the Bb13 before it makes Eb the key of the moment: the 4th is in the key\nalt 7  | EbMaj9\nalt 7  | Ab13#11    # ♭VII7 from the parallel minor: Lydian Dominant\n# area: Gb major (A1 8–10)\n8  | Dm9        # ii of G13#11: Dorian\n8  | G13#11     # tritone substitute: resolves down a half step to GbMaj7\n9  | GbMaj7     # tonic: the 4th is in the key\n9  | Ebm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n9  | Abm9       # ii: Dorian, the key’s own notes\n9  | E69        # ♭VII6, borrowed from Gb minor: Lydian (its ♯11 is in the key)\nalt 9  | GbMaj7     # tonic: the 4th is in the key\nalt 9  | Db\u002FF       # V without its 7th: Mixolydian, the key’s own notes\nalt 9  | Ebm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\nalt 9  | B69        # IV: the #4 is the key’s 7th\nalt 9  | Abm9       # ii: Dorian, the key’s own notes\nalt 9  | Bbm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\nalt 9  | E69        # ♭VII6, borrowed from Gb minor: Lydian (its ♯11 is in the key)\nalt 9  | F7#9#5     # V7 of Bb: b9, #9, #11 and b13 from the symbol\n10 | BbMaj9     # a non-tonic major chord: Lydian\n10 | Bb13sus    # III7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Bb major (A1 10 – A2 2)\n10 | Bb13#11    # V7\u002FIV in Bb: the #11 from the symbol\n\nsection: B1\n1  | EbMaj9     # the Bb13#11 before it makes Eb the key of the moment: the 4th is in the key\n1  | Ebm6\u002F9     # a minor sixth chord: Dorian\n2  | BbMaj9     # tonic: the 4th is in the key\n2  | Bb13sus    # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2  | Bb13       # V7\u002FIV in Bb: natural tensions\n3  | EbMaj9     # the Bb13 before it makes Eb the key of the moment: the 4th is in the key\n3  | Ebm6\u002F9     # a minor sixth chord: Dorian\n4  | BbMaj9     # tonic: the 4th is in the key\n5  | Am7b5      # iiø7 of G minor: Locrian, the key's own notes (its ♭2 is a passing note)\n5  | D7b9#5     # V7\u002Fvi in Bb: b9 and b13 are in the key, the #11 from the symbol\n6  | Gm9        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | Cm9        # ii of Fsus: Dorian\n7  | Fsus       # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n7  | F9         # V7 of Bb: natural tensions\n8  | BbMaj9     # tonic: the 4th is in the key\n9  | Em7b5      # iiø7 of D minor: Locrian, the key's own notes (its ♭2 is a passing note)\n9  | A7b9#5     # V7\u002Fiii in Bb: b9 and b13 are in the key, the #11 from the symbol\n10 | DmMaj7     # from the symbol: minor-major 7th\n10 | Dm9        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n11 | C9         # II7 in Bb, not resolving: natural tensions\n11 | Dm11       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n11 | EbMaj7     # IV: the #4 is the key’s 7th\n11 | Em7b5      # #ivø7 in Bb: Locrian, its own mode (the chord is outside the key)\n12 | F9sus      # static sus: Mixolydian\n12 | F7sus4b9   # from the symbol: sus b9\n12 | F7b9#5     # V7 of Bb: b9, #11 and b13 from the symbol\n\nsection: A2\ncopy: A1\n\nsection: B2\ncopy: B1\n\nsection: C\n1  | BbMaj9     # tonic: the 4th is in the key\n1  | Bb13sus    # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n1  | Bb13       # V7\u002FIV in Bb: natural tensions\n2  | EbMaj9     # the Bb13 before it makes Eb the key of the moment: the 4th is in the key\n2  | Ab13#11    # ♭VII7 from the parallel minor: Lydian Dominant\n# area: Gb major (C 3–4)\n3  | Dm9        # ii of G13#11: Dorian\n3  | G13#11     # tritone substitute: resolves down a half step to GbMaj7\n4  | GbMaj7     # tonic: the 4th is in the key\n4  | Ebm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Abm9       # ii: Dorian, the key’s own notes\n4  | E69        # ♭VII6, borrowed from Gb minor: Lydian (its ♯11 is in the key)\nalt 4  | GbMaj7     # tonic: the 4th is in the key\nalt 4  | Db\u002FF       # V without its 7th: Mixolydian, the key’s own notes\nalt 4  | Ebm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\nalt 4  | B69        # IV: the #4 is the key’s 7th\nalt 4  | Abm9       # ii: Dorian, the key’s own notes\nalt 4  | Bbm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\nalt 4  | E69        # ♭VII6, borrowed from Gb minor: Lydian (its ♯11 is in the key)\nalt 4  | F7#9       # V7 of Bb: b9, #9 and #11 from the symbol\n@nav 4 D.C. al Coda\n\nsection: Coda\n# area: Bb major (Coda 1–2)\n1  | BbMaj9     # tonic: the 4th is in the key\n1  | EbMaj7\u002FBb  # IV: the #4 is the key’s 7th\n2  | BbMaj7#5   # from the symbol: #5\n@coda 1\n",1793484801085]