[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:meditation":3},"title: Meditation\naka: Meditação\nsubtitle: Bossa nova (Meditação)\ncomposer: Antonio Carlos Jobim\nstyle: Latin\nkey: C\nform: ABCD, 40 bars\nrecording: Antonio Carlos Jobim; The Composer of Desafinado, Plays; Verve; 1963\nyoutube: twQMpcoSjwQ\n# analysis: 2026-10-19, rules v2; C\n# recording: recorded May 1963, Jobim guitar\u002Fpiano, Claus Ogerman arranger, Creed Taylor producer; Jobim's own first recording as performer; the first recording was João Gilberto's \"Meditação\" on O Amor, o Sorriso e a Flor (Odeon MOFB 3151, 1960), Jobim as arranger, but the Verve instrumental is the version a jazz player knows; sources Wikipedia (The Composer of Desafinado, Plays), MusicBrainz track lists (Meditation 3:15; MOFB 3151); video: Universal Music Group Topic upload ℗ 1964 The Verve Music Group, on the compilation Antonio Carlos Jobim's Finest Hour, 3:18, the same take\n\n# bar | chord | scale\n\nsection: A\n1  | CMaj7   # tonic: the 4th is in the key\n3  | F#m7\u002FB  # VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | B7b9    # VII7 in C, not resolving: b9 and b13 are in the key\n5  | CMaj7   # tonic: the 4th is in the key\n6  | Dm7     # ii: Dorian, the key’s own notes\n6  | Ebdim7  # vii°7 of Em7: B7♭9 without its root\n7  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | A7#5    # V7\u002Fii in C: the b13 is in the key, the #11 from the symbol\n9  | Dm      # ii: Dorian, the key’s own notes\n11 | Fm7     # ii of Bb7: Dorian\n12 | Bb7     # extended ii–V: a side-step, its own key\n13 | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | A7#5    # V7\u002Fii in C: the b13 is in the key, the #11 from the symbol\n15 | Dm7     # ii of G7#5: Dorian\n16 | G7#5    # V7\u002FI in C: #11 and b13 from the symbol\n\nsection: B\n1  | F#m7b5  # #ivø7 in C: Locrian, its own mode (the chord is outside the key)\n3  | Fm7     # ii of Bb7: Dorian\n4  | Bb7     # extended ii–V: a side-step, its own key\n5  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Ebdim7  # passing diminished: D7♭9 without its D, the G7#5's dominant (Dm7 its ii)\n7  | Dm7     # ii of the ii–V to C\n8  | G7#5    # V7 of C: #11 and b13 from the symbol\n\nsection: C\n1  | CMaj7   # tonic: the 4th is in the key\n3  | F#m7\u002FB  # VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | B7b9    # VII7 in C, not resolving: b9 and b13 are in the key\n5  | CMaj7   # tonic: the 4th is in the key\n6  | Dm7     # ii: Dorian, the key’s own notes\n6  | Ebdim7  # vii°7 of Em7: B7♭9 without its root\n7  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | A7#5    # V7\u002Fii in C: the b13 is in the key, the #11 from the symbol\n\nsection: D\nbars: 8\n1  | Dm      # ii: Dorian, the key’s own notes\n3  | Fm7     # ii of Bb7: Dorian\n4  | Bb7     # extended ii–V: a side-step, its own key\n5  | Em7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | A7#5    # V7\u002Fii in C: the b13 is in the key, the #11 from the symbol\n6  | Dm7     # ii of the ii–V to C\n6  | G7b9    # V7 of C: the b9 from the symbol\n7  | CMaj7   # tonic: the 4th is in the key\n",1793484801279]