[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:papel-mache":3},"title: Papel Mache\ncomposer: João Bosco\nstyle: Slow Bossa Nova\nkey: C\nform: AABB, 48 bars\nrecording: João Bosco; Gagabirô; Barclay; 1984\n# analysis: 2026-10-28, rules v2; C\n# recording: Barclay\u002FPolyGram; João Bosco's own first recording (rule 1); sources: MusicBrainz; video: none (no official upload of the album track found)\n\nsection: Intro1\n1  | FMaj7      # IV: the #4 is the key’s 7th\n2  | Dm11       # ii: Dorian, the key’s own notes\n3  | CMaj7#5\u002FG  # from the symbol: #5\n4  | A9         # VI7 in C, not resolving: the b13 is in the key\n4  | A7b13      # extended dominant: V7 of D9; b13 from the symbol\n5  | D9         # II7 in C, not resolving: natural tensions\n5  | D7#11      # II7 in C, not resolving: the #11 from the symbol\n6  | F\u002FG        # IV: the #4 is the key’s 7th\n6  | C#7#9      # tritone substitute: resolves down a half step to C6; b9 and #9 from the symbol\n7  | C6         # tonic: the 4th is in the key\n8  | C7sus      # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n@coda 6\n\nsection: Intro2\ncopy: Intro1\n\nsection: A\n1  | FMaj7      # IV: the #4 is the key’s 7th\n2  | Dm11       # ii: Dorian, the key’s own notes\n3  | CMaj7#5\u002FG  # from the symbol: #5\n4  | A9         # VI7 in C, not resolving: the b13 is in the key\n4  | A7b13      # VI7 in C, not resolving: the b13 is in the key\n5  | Fm9        # iv7 from the parallel minor: Dorian, its notes\n6  | F\u002FG        # IV: the #4 is the key’s 7th\n6  | C#7#9      # tritone substitute: resolves down a half step to C6; b9 and #9 from the symbol\n7  | C6         # tonic: the 4th is in the key\n7  | C6\u002FB       # tonic: the 4th is in the key\n8  | Am7        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n8  | A7b13      # extended dominant: V7 of D7#11; b13 from the symbol\n9  | D7#11      # tritone substitute: resolves down a half step to C#7#9\n9  | C#7#9      # tritone substitute: resolves down a half step to C6; b9 and #9 from the symbol\n10 | C6         # tonic: the 4th is in the key\n11 | C7sus      # static sus: Mixolydian\n12 | C6         # tonic: the 4th is in the key\n13 | E7\u002FG#      # V7\u002Fvi in C: b9 and b13 are in the key\n@ending 1 10 11\n@ending 2 12 13\n\nsection: B\n1  | AmMaj7     # from the symbol: minor-major 7th\n2  | FMaj9      # IV: the #4 is the key’s 7th\n3  | Dm11       # ii: Dorian, the key’s own notes\n4  | Em11       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n5  | A13b9      # extended ii–V: a side-step, its own key; b9 from the symbol\n6  | FMaj7      # IV: the #4 is the key’s 7th\n7  | Dm11       # ii: Dorian, the key’s own notes\n8  | CMaj7#5\u002FG  # from the symbol: #5\n9  | A9         # VI7 in C, not resolving: the b13 is in the key\n9  | A7b13      # extended dominant: V7 of D7#11; b13 from the symbol\n10 | D7#11      # II7 in C, not resolving: the #11 from the symbol\n11 | F\u002FG        # IV: the #4 is the key’s 7th\n11 | C#7#9      # tritone substitute: resolves down a half step to C6; b9 and #9 from the symbol\n12 | C6         # tonic: the 4th is in the key\n13 | E7\u002FG#      # III7 in C, not resolving: b9 and b13 are in the key\n14 | C7sus      # static sus: Mixolydian\n@nav 14 D.C. al Coda\n@ending 1 13\n@ending 2 14\n\nsection: Coda\n1  | Bb13       # tritone substitute: resolves down a half step to A7b13\n1  | A7b13      # extended dominant: V7 of D7#11; b13 from the symbol\n2  | D7#11      # tritone substitute: resolves down a half step to C#7#9\n2  | C#7#9      # tritone substitute: resolves down a half step to C6; b9 and #9 from the symbol\n3  | C6         # tonic: the 4th is in the key\n@coda 1\n",1793484802339]