[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:partido-alto":3},"title: Partido Alto\ncomposer: Jose Bertrami\nstyle: Latin\nkey: Gm\nform: ABCDE, 72 bars\nrecording: Airto; Touching You... Touching Me; Warner Bros.; 1979\nyoutube: IauWsWycvtg\n# analysis: 2026-10-19, rules v2; G minor\n# recording: Airto with Flora Purim, José Roberto Bertrami (Fender Rhodes), Alphonso Johnson, George Sopuch, Joe Farrell, Laudir de Oliveira, recorded in Los Angeles; the version the chart follows (\"as played by Airto\"); the album credits it to Bertrami and Alex Malheiros (AllMusic, MusicBrainz); video: \"Provided to YouTube by WM Brazil\", Touching You, Touching Me, the same take (not the 1988 The Colours of Life version)\n# book: Med. Latin\u002FFunk (quarter = 172), as played by Airto. A and B are played twice (the repeat goes back to A);\n# C and D are for solos (repeated); after solos E (a bass vamp, 4x), then D.S. al Coda: from the segno, A to its last bar, then the Coda\n# the book writes most chords over an eighth-note anticipation; each is placed in the bar it anticipates\n# the book's Am7(add 11) is written Am11\n\n# bar | chord\n# Intro bars 1–4: an electric bass figure, played 5x (piano enters 3rd x); bar 5 follows the repeat\n\nsection: Intro\nbars: 8\n1  | Gm11     # tonic minor: Dorian by convention\n# Intro bars 6–9: the segno; D.S. returns here\n6  | Gm11\n@segno 6\n\nsection: A\n1  | Gm11     # tonic minor: Dorian by convention\n16 | Eb\u002FDb    # a non-tonic major chord: Lydian\n@coda 16\n\nsection: B\nbars: 20\n# book: Cm7 with the coda sign on the last eighth of A bar 16 (the anticipation of B's Cm7); on the D.S., to the Coda from here\n1  | Cm7      # iv: Dorian, the key’s own notes\n2  | Bbm7     # a borrowed minor chord: Dorian, its own key\n3  | Am11     # ii of D9sus4: Dorian\n# bar 3: break\n4  | D9sus4   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | D7#5\u002FF#  # V7 of G minor: b9 and b13 are in the key, the #11 from the symbol\n5  | Gm11     # tonic minor: Dorian by convention\n8  | Eb\u002FDb    # a non-tonic major chord: Lydian\n9  | Cm7      # iv: Dorian, the key’s own notes\n10 | Bbm7     # a borrowed minor chord: Dorian, its own key\n11 | Am11     # ii of D9sus4: Dorian\n11 | D9sus4   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# bar 11: break; the book writes Am7(add 11) over the last eighth of bar 10 and D9sus over the hit in bar 11\n12 | D9sus4\n12 | D7#5\u002FF#  # V7 of G minor: b9 and b13 are in the key, the #11 from the symbol\n13 | Gm11     # tonic minor: Dorian by convention\n17 | Gm11\n@ending 1 13 16\n@ending 2 17 20\n\nsection: C\n# the 1st ending repeats to A\n# C: solos\n1  | Gm11\n16 | Eb\u002FDb    # a non-tonic major chord: Lydian\n\nsection: D\nbars: 16\n1  | Cm7      # iv: Dorian, the key’s own notes\n2  | Bbm7     # a borrowed minor chord: Dorian, its own key\n3  | Am11     # ii of D9sus4: Dorian\n4  | D9sus4   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | D7#5\u002FF#  # V7 of G minor: b9 and b13 are in the key, the #11 from the symbol\n5  | Gm11     # tonic minor: Dorian by convention\n8  | Eb\u002FDb    # a non-tonic major chord: Lydian\n9  | Cm7      # iv: Dorian, the key’s own notes\n10 | Bbm7     # a borrowed minor chord: Dorian, its own key\n11 | Am11     # ii of D9sus4: Dorian\n12 | D9sus4   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | D7#5\u002FF#  # V7 of G minor: b9 and b13 are in the key, the #11 from the symbol\n13 | Gm11     # tonic minor: Dorian by convention\n\nsection: E\n# book: C and D repeat for solos; after solos, continue to E\n# E: bass vamp, bars 1–2 played 4x, then bars 3–4 (repeated) and D.S. al Coda\n1  | Gm11\n4  | Gm11\n@nav 4 D.S. al Coda\n\nsection: Coda\nbars: 20\n1  | Cm7      # iv: Dorian, the key’s own notes\n2  | Bbm7     # a borrowed minor chord: Dorian, its own key\n3  | Am11     # ii of D9sus4: Dorian\n# bar 3: break\n4  | D9sus4   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | D7#5\u002FF#  # V7 of G minor: b9 and b13 are in the key, the #11 from the symbol\n5  | Gm11     # tonic minor: Dorian by convention\n8  | Eb\u002FDb    # a non-tonic major chord: Lydian\n9  | Cm7      # iv: Dorian, the key’s own notes\n10 | Bbm7     # a borrowed minor chord: Dorian, its own key\n11 | Am11     # ii of D9sus4: Dorian\n# bar 11: break\n12 | D9sus4   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | D7#5\u002FF#  # V7 of G minor: b9 and b13 are in the key, the #11 from the symbol\n13 | Gm11     # tonic minor: Dorian by convention\n16 | Eb\u002FDb    # a non-tonic major chord: Lydian\n17 | Cm7      # iv: Dorian, the key’s own notes\n18 | Bbm7     # a borrowed minor chord: Dorian, its own key\n19 | Am11     # ii of D9sus4: Dorian\n19 | D9sus4   # static sus: Mixolydian\n# bar 19: the final hit; the book writes Am7(add 11) over the last eighth of bar 18 and D9sus over the hit\n",1793484802380]