[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:recorda-me-reharm":3},"title: Recorda-Me (Reharmonized)\naka: No Me Esqueca\ncomposer: Joe Henderson\nstyle: Medium samba\nkey: Am\nform: AABCC, 80 bars\n# analysis: 2026-10-19, rules v2; A minor\n# book: Med. Samba (half note = 114). Head A played twice; B is for solos (repeated); after solos C (twice), then head A twice, then D.C. al fine (the intro, ending at its 2nd ending)\n# the intro (8 bars with 1st\u002F2nd endings, horns 2nd time only, ending at \"fine\") is a horn and bass figure with no chords\n# the book's 13sus chords are written 9sus4 (D13sus → D9sus4)\n\n# bar | chord\n\nsection: A\n# area: A minor (A 1–9)\n1  | D13sus    # static sus: Mixolydian\n3  | Am7       # tonic minor: Dorian by convention\n5  | F13sus    # static sus: Mixolydian\n7  | Cm7       # a borrowed minor chord: Dorian, its own key\n# alt: bar 8 (F13)\n9  | BbMaj7    # a non-tonic major chord: Lydian\n# area: Ab major (A 10–11)\n10 | Bbm7      # ii of the ii–V to Ab\n10 | Eb7       # V7 of Ab: natural tensions\n11 | AbMaj7    # tonic: the 4th is in the key\n# area: Gb major (A 12–13)\n12 | Abm7      # ii of the ii–V to Gb\n12 | Db7       # V7 of Gb: natural tensions\n13 | GbMaj7    # tonic: the 4th is in the key\n# area: A minor (A 14 – B 9)\n14 | Gb7#9#11  # tritone substitute: resolves down a half step to FMaj7; b9 and #9 from the symbol\n# alt: bar 14 (Gm7 C7)\n15 | FMaj7     # a non-tonic major chord: Lydian\n16 | E7#5#9    # V7 of A minor: the b13 is in the key, b9, #9 and #11 from the symbol\n# bar 16 is the 1st ending; the 2nd ending is one bar with no chord (a held B) leading into the solos at B\n\nsection: B\n1  | Am7       # tonic minor: Dorian by convention\n5  | Cm7       # a borrowed minor chord: Dorian, its own key\n# alt: bar 8 (F13)\n9  | BbMaj7    # a non-tonic major chord: Lydian\n# area: Ab major (B 10–11)\n10 | Bbm7      # ii of the ii–V to Ab\n10 | Eb7       # V7 of Ab: natural tensions\n11 | AbMaj7    # tonic: the 4th is in the key\n# area: Gb major (B 12–13)\n12 | Abm7      # ii of the ii–V to Gb\n12 | Db7       # V7 of Gb: natural tensions\n13 | GbMaj7    # tonic: the 4th is in the key\n# area: A minor (B 14 – C 17)\n14 | Gb7#9#11  # tritone substitute: resolves down a half step to FMaj7; b9 and #9 from the symbol\n# book: bar 14 prints both (Gm7 C7) and (Gb7(#11 #9)) in parentheses; Gb7#9#11 as in the head, alt: (Gm7 C7)\n15 | FMaj7     # a non-tonic major chord: Lydian\n16 | E7#5#9    # V7 of A minor: the b13 is in the key, b9, #9 and #11 from the symbol\n\nsection: C\nbars: 20\n# book: after solos, continue to C\n1  | Am7       # tonic minor: Dorian by convention\n5  | Cm7       # a borrowed minor chord: Dorian, its own key\n9  | BbMaj7    # a non-tonic major chord: Lydian\n# book: bars 9–14 are breaks with ensemble hits; each new chord is anticipated on the and of 4\n11 | AbMaj7    # a non-tonic major chord: Lydian\n13 | GbMaj7    # a non-tonic major chord: Lydian\n15 | FMaj7     # a non-tonic major chord: Lydian\n16 | E7#5#9    # static dominant: its own mode; b9, #9, #11 and b13 from the symbol\n17 | E7#5#9\n@ending 1 16\n@ending 2 17\n# book: after the 2nd ending, play head (A) twice, then D.C. al fine\n",1793484802614]