[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:nightmood":3},"title: Nightmood\ncomposer: Ivan Lins\nstyle: Bossa Nova\nkey: C\nform: AABC, 32 bars\nrecording: Ivan Lins; Depois dos Temporais; Philips; 1983\nyoutube: y3AGRbYPKps\n# analysis: 2026-10-28, rules v2; C\n# recording: as 'Lembra' (Ivan Lins\u002FVitor Martins),; the composer's own first recording (rule 1); the English 'Nightmood' (lyrics David Richardson) is from Mark Murphy's Night Mood (Milestone, 1987); sources: MusicBrainz, Wikipedia; video: Universal Music Group \"Provided to YouTube\" upload, album Depois dos Temporais, 3:52\n\nsection: A1\n# area: C major (A1 1 – B 6)\n1 | CMaj7     # tonic: the 4th is in the key\n2 | Bm7       # ii of the ii–V to A minor\n2 | E7        # V7\u002Fvi in C: b9 and b13 are in the key\n3 | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | F#m7      # ii of the ii–V to E minor\n4 | B7        # V7\u002Fiii in C: b9 and b13 are in the key\n5 | Em7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | A9sus     # VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6 | A9#5      # extended dominant: V7 of D9sus; #11 and b13 from the symbol\n7 | D9sus     # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n7 | D9        # extended dominant: V7 of G13sus\n8 | G13sus    # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8 | G9#5      # V7 of C: #11 and b13 from the symbol\nalt 8 | G13sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\nalt 8 | C7        # I7 in C, not resolving: natural tensions\nalt 8 | G9#5      # V7 of C: #11 and b13 from the symbol\n\nsection: A2\ncopy: A1\n\nsection: B\n1 | C9sus     # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n2 | C9sus\n2 | C9#5      # V7\u002Fiv in C: #11 and b13 from the symbol\n3 | Fm7       # ii of Bb9sus: Dorian\n4 | Bb9sus    # ♭VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4 | Bb9#5     # V7\u002Fbiii in C: the #11 is in the key, the b13 from the symbol\n5 | Ebm7      # ii of Ab9sus: Dorian\n6 | Ab9sus    # ♭VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Db major (B 6–7)\n6 | Ab9#5     # V7 of Db: #11 and b13 from the symbol\n7 | DbMaj7    # tonic: the 4th is in the key\n# area: C major (B 8 – Coda 5)\n8 | Dm7b5     # iiø7 of C: Locrian, the key's own notes (its ♭2 is a passing note)\n8 | G7alt     # from the symbol: altered\n\nsection: C\n1 | CMaj7     # tonic: the 4th is in the key\n2 | Bm7       # ii of the ii–V to A minor\n2 | E7        # V7\u002Fvi in C: b9 and b13 are in the key\n3 | Am7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4 | F#m7      # ii of the ii–V to E minor\n4 | B7        # V7\u002Fiii in C: b9 and b13 are in the key\n5 | Em7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6 | A9sus     # VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n6 | A9#5      # extended dominant: V7 of D9sus; #11 and b13 from the symbol\n7 | D9sus     # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n7 | D9        # extended dominant: V7 of G13sus\n8 | G13sus    # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8 | G9#5      # V7 of C: #11 and b13 from the symbol\n@nav 8 D.C. al Coda\n\nsection: Coda\n1 | CMaj7     # tonic: the 4th is in the key\n2 | Db9#11    # tritone substitute: resolves down a half step to CMaj7\n3 | CMaj7     # tonic: the 4th is in the key\n4 | Db9#11    # tritone substitute: resolves down a half step to CMaj9#11\n5 | CMaj9#11  # from the symbol: #11\n@coda 1\n",1793484801859]