[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:manuel-o-audaz":3},"title: Manuel o Audaz\ncomposer: Toninho Horta\nstyle: Brazilian\nkey: E\ntime: 2\u002F4\nform: AA, 50 bars\nrecording: Beto Guedes, Danilo Caymmi, Novelli, Toninho Horta; Beto Guedes, Danilo Caymmi, Novelli, Toninho Horta; Odeon; 1973\n# analysis: 2026-10-28, rules v2; E\n# recording: Odeon SMOFB 3777; the composer's own first recording (rule 1), later re-recorded on Terra dos Pássaros (EMI, 1980); sources: MusicBrainz; no official upload found\n\nsection: Intro\n1  | EMaj7     # tonic: the 4th is in the key\n2  | AMaj7     # IV: the #4 is the key’s 7th\n3  | EMaj7     # tonic: the 4th is in the key\n4  | AMaj7     # IV: the #4 is the key’s 7th\n5  | EMaj7     # tonic: the 4th is in the key\n6  | G#m7\u002FD#   # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | AMaj7     # IV: the #4 is the key’s 7th\n9  | AMaj7\n10 | E\u002FG#      # tonic: the 4th is in the key\n11 | E\u002FG#\n12 | F#m7      # ii of the ii–V to E\n13 | Bsus      # static sus: Mixolydian\n\nsection: A\n1  | EMaj7     # tonic: the 4th is in the key\n2  | AMaj7     # IV: the #4 is the key’s 7th\n3  | EMaj7     # tonic: the 4th is in the key\n4  | AMaj7     # IV: the #4 is the key’s 7th\n5  | EMaj7     # tonic: the 4th is in the key\n6  | G#m7\u002FD#   # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7  | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | AMaj7     # IV: the #4 is the key’s 7th\n9  | A+        # from the symbol: augmented\n9  | A6        # IV: the #4 is the key’s 7th\n10 | E\u002FG#      # tonic: the 4th is in the key\n11 | E\u002FG#\n12 | F#m11     # ii: Dorian, the key’s own notes\n13 | F#m11\n14 | E\u002FG#      # tonic: the 4th is in the key\n15 | E\u002FG#\n16 | AMaj7     # IV: the #4 is the key’s 7th\n17 | AMaj7\n18 | E\u002FG#      # tonic: the 4th is in the key\n19 | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n20 | AMaj7     # IV: the #4 is the key’s 7th\n21 | AMaj7\n22 | Bsus      # static sus: Mixolydian\n23 | A+\u002FB      # from the symbol: augmented\n24 | B7sus     # static sus: Mixolydian\n25 | A\u002FC#      # IV: the #4 is the key’s 7th\n26 | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n27 | G#m7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n28 | F#m7      # ii: Dorian, the key’s own notes\n29 | F#m7\n30 | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n31 | BMaj7\u002FD#  # a non-tonic major chord: Lydian\n32 | A\u002FE       # IV: the #4 is the key’s 7th\n33 | B13       # V7 of E: natural tensions\n@ending 1 18 25\n@ending 2 26 33\n\nsection: Coda1\n1  | EMaj7     # tonic: the 4th is in the key\n2  | G#m7\u002FD#   # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | AMaj7     # IV: the #4 is the key’s 7th\n5  | AMaj7\n6  | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n7  | BMaj7\u002FD#  # a non-tonic major chord: Lydian\n8  | F#m7      # ii of the ii–V to E\n9  | B7sus     # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n10 | EMaj7     # tonic: the 4th is in the key\n11 | G#m7\u002FD#   # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n13 | AMaj7     # IV: the #4 is the key’s 7th\n14 | A+        # from the symbol: augmented\n14 | A6        # IV: the #4 is the key’s 7th\n15 | C#m7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n16 | BMaj7\u002FD#  # a non-tonic major chord: Lydian\n17 | F#m7      # ii of the ii–V to E\n18 | B7sus     # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n@coda 1\n\nsection: Coda2\ncopy: Coda1\n",1793484801200]