[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:one-note-samba":3},"title: One Note Samba\naka: Samba de Uma Nota Só\nsubtitle: Samba (Samba de Uma Nota Só)\ncomposer: Antonio Carlos Jobim\nstyle: Latin\nkey: Bb\nform: ABC, 40 bars\nrecording: Antonio Carlos Jobim; The Composer of Desafinado, Plays; Verve; 1963\nyoutube: nwerSLDhqZo\n# analysis: 2026-10-19, rules v2; Bb\n# recording: recorded May 1963, New York, Jobim with Claus Ogerman's orchestra, prod. Creed Taylor (Verve V6-8547); Jobim's own first recording as leader; first recorded by João Gilberto on O Amor, o Sorriso e a Flor (Odeon 1960, Jobim arranging), and Getz\u002FByrd's Jazz Samba (Verve 1962) brought it to jazz players, but this is Jobim's own; sources: Wikipedia; video: Zebralution \"Provided to YouTube\" upload of the same album track (remastered), 2:14\n\n# bar | chord | scale\n\nsection: A\n# area: Bb major (A 1–16)\n1  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | Db7     # tritone substitute: resolves down a half step to Cm7\n3  | Cm7     # ii: Dorian, the key’s own notes\n4  | B7#11   # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n5  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Db7     # tritone substitute: resolves down a half step to Cm7\n7  | Cm7     # ii: Dorian, the key’s own notes\n8  | B7#11   # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n9  | Fm7     # ii of the ii–V to Eb\n10 | Bb7     # V7\u002FIV in Bb: natural tensions\n11 | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n12 | Ab7     # ♭VII7 from the parallel minor: Lydian Dominant\n13 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n14 | Db7     # tritone substitute: resolves down a half step to Cm7\n15 | Cm7     # ii: Dorian, the key’s own notes\n15 | B7#11   # tritone substitute: resolves down a half step to BbMaj7\n16 | BbMaj7  # tonic: the 4th is in the key\n\nsection: B\n# area: Db major (B 1–3)\n1  | Ebm7    # ii of the ii–V to Db\n2  | Ab7     # V7 of Db: natural tensions\n3  | DbMaj7  # tonic: the 4th is in the key\n# area: Cb major (B 5 – C 1)\n5  | Dbm7    # ii of the ii–V to Cb\n6  | Gb7     # V7 of Cb: natural tensions\n7  | CbMaj7  # tonic: the 4th is in the key\n8  | Cm7b5   # iiø7 of F7: Locrian, the key's own notes (its ♭2 is a passing note)\n8  | F7      # extended ii–V: a side-step, its own key: b9 and b13 are in the key\n\nsection: C\n1  | Dm7     # a borrowed minor chord: Dorian, its own key\n# area: Bb major (C 2–11)\n2  | Db7     # tritone substitute: resolves down a half step to Cm7\n3  | Cm7     # ii: Dorian, the key’s own notes\n4  | B7#11   # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n5  | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Db7     # tritone substitute: resolves down a half step to Cm7\n7  | Cm7     # ii: Dorian, the key’s own notes\n8  | B7#11   # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n9  | Fm7     # ii of the ii–V to Eb\n10 | Bb7     # V7\u002FIV in Bb: natural tensions\n11 | EbMaj7  # the Bb7 before it makes Eb the key of the moment: the 4th is in the key\n# area: Db major (C 12–13)\n12 | Ab7     # V7 of Db: natural tensions\n13 | DbMaj7  # tonic: the 4th is in the key\n# area: Cb major (C 14–16)\n14 | C7      # tritone substitute: resolves down a half step to CbMaj7\n15 | CbMaj7  # tonic: the 4th is in the key\n16 | Bb      # a non-tonic major chord: Lydian\n",1793484802248]