[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:outra-vez":3},"title: Outra Vez\ncomposer: Antonio Carlos Jobim\nstyle: Bossa Nova\nkey: C\nform: AABC, 68 bars\nrecording: Antonio Carlos Jobim; A Certain Mr. Jobim; Warner Bros.; 1967\nyoutube: _jKAgRAKdfs\n# analysis: 2026-10-28, rules v2; C\n# recording: Warner Bros. WS 1699, arr. Claus Ogerman, prod. Ray Gilbert, released August 1967, as \"Outra Vez (Once Again)\"; Jobim's own first recording (rule 1); sources: Wikipedia, jobim.org; video: Rhino Atlantic \"Provided to YouTube\" upload, Original Album Series (the album in a box set), 2:09\n\nsection: Intro\n1  | CMaj9    # tonic: the 4th is in the key\n2  | Db7#9    # tritone substitute: resolves down a half step to CMaj9; b9 and #9 from the symbol\n3  | CMaj9    # tonic: the 4th is in the key\n4  | Db7#9    # tritone substitute: resolves down a half step to CMaj9; b9 and #9 from the symbol\n\nsection: A\n1  | CMaj9    # tonic: the 4th is in the key\n2  | Ebdim7   # passing diminished: D7♭9 without its D, the G7's dominant (Dm7 its ii)\n3  | Dm7      # ii of G7: Dorian\n4  | G7       # V7\u002FI in C: natural tensions\n5  | Em7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Ebdim7   # passing diminished: a rootless dominant ♭9\n7  | Dm7      # ii: Dorian, the key’s own notes\n8  | Gm7      # ii of the ii–V to F\n8  | C7       # V7\u002FIV in C: natural tensions\n9  | FMaj9    # the C7 before it makes F the key of the moment: the 4th is in the key\n10 | Bb9      # ♭VII7 from the parallel minor: Lydian Dominant\n11 | Em7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | Ebm7     # a borrowed minor chord: Dorian, its own key\n13 | Dm7      # ii: Dorian, the key’s own notes\n14 | Abm9     # ii of Db9: Dorian\n14 | Db9      # tritone substitute: resolves down a half step to CMaj9\n15 | CMaj9    # tonic: the 4th is in the key\n16 | Db7#9    # V7\u002F#iv in C: #11 and b13 are in the key, b9 and #9 from the symbol\n17 | F#m7b5   # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n17 | B7       # V7\u002Fiii in C: b9 and b13 are in the key\n@segno 1\n@ending 1 16\n@ending 2 17\n\nsection: B\n1  | Em7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n2  | Em\u002FD     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n3  | C#m7b5   # biiø7 in C: Locrian, its own mode (the chord is outside the key)\n4  | Cm6      # a minor sixth chord: Dorian\n5  | GMaj9\u002FB  # a non-tonic major chord: Lydian\n6  | Bbdim7   # passing diminished: A7♭9 without its A, the D9's dominant; not functioning diatonically: the symmetric scale\n7  | Am9      # ii of D9: Dorian\n8  | D9       # tritone substitute: resolves down a half step to Db9\n8  | Db9      # a chromatic dominant with nowhere to go: Lydian Dominant, its own key\n9  | GMaj9    # a non-tonic major chord: Lydian\n10 | Em7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | A7       # V7\u002Fii in C: the b13 is in the key\n11 | Dm7      # ii of the ii–V to C\n12 | G7b9     # V7 of C: the b9 from the symbol\n13 | CMaj9    # tonic: the 4th is in the key\n14 | BbMaj9   # ♭VIImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n15 | AbMaj9   # ♭VImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n16 | AbMaj9\n17 | BbMaj9   # ♭VIImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n18 | BbMaj9\n19 | Dm9      # ii: Dorian, the key’s own notes\n20 | Gb9#5    # a chromatic dominant with nowhere to go: Lydian Dominant, its own key; b13 from the symbol\n\nsection: C\n1  | CMaj9    # tonic: the 4th is in the key\n2  | Ebdim7   # passing diminished: D7♭9 without its D, the G7's dominant (Dm7 its ii)\n3  | Dm7      # ii of G7: Dorian\n4  | G7       # V7\u002FI in C: natural tensions\n5  | Em7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Ebdim7   # passing diminished: a rootless dominant ♭9\n7  | Dm7      # ii: Dorian, the key’s own notes\n8  | Gm7      # ii of the ii–V to F\n8  | C7       # V7\u002FIV in C: natural tensions\n9  | FMaj9    # the C7 before it makes F the key of the moment: the 4th is in the key\n10 | Bb9      # ♭VII7 from the parallel minor: Lydian Dominant\n11 | Em7      # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | Ebm7     # a borrowed minor chord: Dorian, its own key\n13 | Dm7      # ii: Dorian, the key’s own notes\n14 | Abm9     # ii of Db9: Dorian\n14 | Db9      # tritone substitute: resolves down a half step to CMaj9\n15 | CMaj9    # tonic: the 4th is in the key\n16 | Db9#11   # tritone substitute: resolves down a half step to CMaj9\n@nav 16 D.S. al Coda\n@coda 16\n\nsection: Coda1\n1  | CMaj9    # tonic: the 4th is in the key\n2  | Abm9     # ii of Db9#11: Dorian\n2  | Db9#11   # tritone substitute: resolves down a half step to CMaj7\n3  | CMaj7    # tonic: the 4th is in the key\n4  | Db7#9    # tritone substitute: resolves down a half step to CMaj9; b9 and #9 from the symbol\n@coda 1\n\nsection: Coda2\ncopy: Coda1\n",1793484802288]