[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:minha-namorada":3},"title: Minha Namorada\ncomposer: Carlos Lyra, Vinicius de Moraes\nstyle: Samba\nkey: A\nform: AB, 40 bars\n# no recording: no confident first recording: candidates (the Pobre Menina Rica cast LP, CBS 1964; Nara Leão live, 1965; Lyra on Poesia e Canção vol. II, 1966) unconfirmed\n# analysis: 2026-10-28, rules v2; A\n\nsection: A\n# area: A major (A 1 – B 13)\n1  | AMaj7    # tonic: the 4th is in the key\n2  | Bm7      # ii: Dorian, the key’s own notes\n3  | C#m7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | F#13b9   # V7\u002Fii in A: b9 and 13 from the symbol\n5  | Bm7      # ii: Dorian, the key’s own notes\n6  | F#13     # V7 of the Bm7 before it: the 13 from the symbol\n6  | F#7b13   # VI7 in A, not resolving: the b13 is in the key\n7  | F#m7     # ii of B7: Dorian\n7  | B7       # V7 of V7: the dominant of the dominant: natural tensions\n8  | B7\n8  | E13      # V7 of A: natural tensions\n9  | AMaj7    # tonic: the 4th is in the key\n10 | Bm7      # ii: Dorian, the key’s own notes\n11 | C#m7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | Cdim7    # passing diminished: a rootless dominant ♭9\n13 | Bm7      # ii: Dorian, the key’s own notes\n14 | F#13     # V7 of the Bm7 before it: the 13 from the symbol\n14 | F#7b13   # VI7 in A, not resolving: the b13 is in the key\n15 | G#m11    # a borrowed minor chord: Dorian, its own key\n16 | G7#11    # tritone substitute: resolves down a half step to F#m7\n17 | F#m7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n18 | FMaj7#5  # from the symbol: #5\n19 | A6\u002FE     # tonic: the 4th is in the key\n20 | A\u002FG      # tonic: the 4th is in the key\n21 | F#m7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n22 | FMaj7    # ♭VImaj7, borrowed from A minor: Lydian (its ♯11 is in the key)\n23 | Bm7      # ii of E13: Dorian\n24 | E13      # V7\u002FI in A: natural tensions\n\nsection: B\n1  | D#m7b5   # #ivø7 in A: Locrian, its own mode (the chord is outside the key)\n2  | DMaj7    # IV: the #4 is the key’s 7th\n3  | A\u002FG      # tonic: the 4th is in the key\n4  | A\u002FG\n5  | DMaj7    # IV: the #4 is the key’s 7th\n6  | E\u002FD      # V without its 7th: Mixolydian, the key’s own notes\n7  | A\u002FG      # tonic: the 4th is in the key\n8  | A\u002FG\n9  | DMaj7    # IV: the #4 is the key’s 7th\n10 | E\u002FD      # V without its 7th: Mixolydian, the key’s own notes\n11 | C#13     # III7 in A, not resolving: the b9 is in the key, the 13 from the symbol\n11 | C#7b13   # extended dominant: V7 of F#9; b13 from the symbol\n12 | F#9      # VI7 in A, not resolving: the b13 is in the key\n12 | F#7b9    # extended dominant: V7 of B13; b9 from the symbol\n13 | B13      # II7 in A, not resolving: natural tensions\n# area: Bb major (B 13–14)\n13 | B7b13    # tritone substitute: resolves down a half step to BbMaj9; b13 from the symbol\n14 | BbMaj9   # tonic: the 4th is in the key\n# area: A major (B 15 – Coda 2)\n15 | Bm7      # ii of the ii–V to A\n16 | E7       # V7 of A: natural tensions\n@coda 13\n\nsection: Coda\n1  | BbMaj9   # ♭IImaj7, borrowed from A Phrygian: Lydian (its ♯11 is in the key)\n2  | A69      # tonic: the 4th is in the key\n@coda 1\n@nav 2 Fine\n",1793484801376]