[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:rosa-morena":3},"title: Rosa Morena\ncomposer: Dorival Caymmi\nstyle: Bossa Nova\nkey: A\nform: AAB, 60 bars\nrecording: João Gilberto; Chega de Saudade; Odeon; 1959\nyoutube: t8YXBNu7zCI\n# analysis: 2026-10-28, rules v2; A\n# recording: arr. and prod. Antonio Carlos Jobim; the bossa nova version the chart's style follows (rule 2); first recorded by Anjos do Inferno (78, 1942); sources: Dicionário Cravo Albin, MusicBrainz, Wikipedia; video: The Orchard \"Provided to YouTube\" upload (℗ 2022 Odeon), album Chega de Saudade, 2:06\n\nsection: Intro\n1  | DMaj7   # IV: the #4 is the key’s 7th\n2  | Dm6     # a minor sixth chord: Dorian\n3  | C#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n4  | C#dim7  # passing diminished: F#7♭9 without its F#, the Bm7's dominant; not functioning diatonically: the symmetric scale\n5  | Bm7     # ii of the ii–V to A\n6  | E13b9   # V7 of A: the b9 from the symbol\n7  | AMaj7   # tonic: the 4th is in the key\n8  | AMaj7\n\nsection: A1\n1  | AMaj7   # tonic: the 4th is in the key\n2  | A#dim7  # vii°7 of Bm7: F#7♭9 without its root\n3  | Bm7     # ii of the ii–V to A\n4  | Bm7\n5  | Bm7\n6  | E7b9    # V7 of A: the b9 from the symbol\n7  | AMaj7   # tonic: the 4th is in the key\n8  | AMaj7\n9  | AMaj7\n10 | AMaj7\n11 | C#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | F#7b13  # V7\u002Fii in A: the b13 is in the key\n13 | Bm7     # ii: Dorian, the key’s own notes\n14 | F#7b13  # V7\u002Fii in A: the b13 is in the key\n15 | Bm7     # ii of E7b9: Dorian\n16 | E7b9    # V7 of A: the b9 from the symbol\n17 | Adim7   # auxiliary diminished: it decorates the chord and returns to it\n18 | AMaj7   # tonic: the 4th is in the key\n\nsection: A2\ncopy: A1\n\nsection: B\n1  | A7      # I7 in A, not resolving: natural tensions\n2  | A+      # from the symbol: augmented\n3  | DMaj7   # IV: the #4 is the key’s 7th\n4  | DMaj7\n5  | D#dim7  # passing diminished: a rootless dominant ♭9; not functioning diatonically: the symmetric scale\n6  | G#7     # V7\u002Fiii in A: b9 and b13 are in the key\n7  | C#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | C#m7\n9  | F#7     # V7\u002Fii in A: the b13 is in the key\n10 | F#7\n11 | Bm7     # ii: Dorian, the key’s own notes\n12 | Bm7\n13 | Bm7b5   # iiø7, borrowed from A minor: Locrian\n14 | Bm7b5\n15 | AMaj7   # tonic: the 4th is in the key\n16 | A7      # extended dominant: V7 of D7\n17 | D7      # IV7 in A, not resolving: the #11 is in the key\n18 | Dm6     # a minor sixth chord: Dorian\n19 | C#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n20 | F#7     # extended dominant: each one falls a fifth into the next: natural tensions\n21 | B7      # V7 of V7: the dominant of the dominant: natural tensions\n22 | E7      # V7 of A: natural tensions\n23 | AMaj7   # tonic: the 4th is in the key\n24 | F#7     # VI7 in A, not resolving: the b13 is in the key\n",1793484802770]