[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:se-todos-fossem-iguais-a-voce":3},"title: Se Todos Fossem Iguais a Você\ncomposer: Antonio Carlos Jobim\nstyle: Bossa Nova\nkey: A\nform: ABC, 48 bars\nrecording: Antonio Carlos Jobim & Roberto Paiva; Orfeu da Conceição; Odeon; 1956\n# analysis: 2026-10-28, rules v2; A\n# recording: 10-inch LP of the songs from Vinicius's play, Jobim conducting, Roberto Paiva singing; the first release (rules 1-2); Jobim sang it himself on A Certain Mr. Jobim (1967); sources: MusicBrainz, Wikipedia; video: none (the uploads found are from unofficial labels)\n\nsection: A\n# area: A major (A 1–11)\n1  | E9      # back door bVII7 to F#\u002FE: natural tensions\n2  | E9\n3  | F#\u002FE    # a non-tonic major chord: Lydian\n4  | F#\u002FE\n5  | E9      # V7 in A, not resolving: natural tensions\n6  | E9#5    # V7 of A: #11 and b13 from the symbol\n7  | AMaj9   # tonic: the 4th is in the key\n8  | AMaj9\n9  | G#13    # VII7 in A, not resolving: the b9 is in the key, the 13 from the symbol\n9  | G#7#5   # V7 of C#7, on the way to F# minor: b9 and b13 are in the key, the #11 from the symbol\n10 | C#7     # V7 of F# minor, the chain's last link: b9 and b13 are in the key\n11 | F#m7    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: G major (A 12–13)\n12 | Am7     # ii of the ii–V to G\n12 | D9      # V7 of G: natural tensions\n13 | GMaj9   # tonic: the 4th is in the key\n# area: F# major (A 14–15)\n14 | G#m7b5  # iiø7 of F#: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | C#7b9   # V7 of F#: the b9 from the symbol\n15 | F#Maj7  # tonic: the 4th is in the key\n# area: A major (A 16 – C 16)\n16 | Bm7     # ii of the ii–V to A\n16 | E7      # V7 of A: natural tensions\n\nsection: B\n1  | AMaj7   # tonic: the 4th is in the key\n2  | G#m7b5  # iiø7 of F# minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | C#7b9   # V7\u002Fvi in A: b9 and b13 are in the key\n3  | F#m7    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Em7     # ii of the ii–V to D\n4  | A9      # V7\u002FIV in A: natural tensions\n5  | DMaj7   # the A9 before it makes D the key of the moment: the 4th is in the key\n6  | C#m7b5  # iiø7 of B minor: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | F#7b13  # V7\u002Fii in A: the b13 is in the key\n7  | Bm7     # ii of E7: Dorian\n8  | E7      # V7\u002FI in A: natural tensions\n9  | E13     # V7 of A: natural tensions\n10 | E13\n11 | AMaj7   # tonic: the 4th is in the key\n12 | AMaj7\n13 | D#m7b5  # iiø7 of C# minor: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | G#7     # V7\u002Fiii in A: b9 and b13 are in the key\n15 | C#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n15 | Am6     # a minor sixth chord: Dorian\n16 | Em9     # a borrowed minor chord: Dorian, its own key\n16 | E7b9    # V7 of A: the b9 from the symbol\n\nsection: C\n1  | AMaj7   # tonic: the 4th is in the key\n2  | G#m7b5  # iiø7 of F# minor: Locrian, the key's own notes (its ♭2 is a passing note)\n2  | C#7     # V7\u002Fvi in A: b9 and b13 are in the key\n3  | F#m7    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n4  | Em7     # ii of the ii–V to D\n4  | A7      # V7\u002FIV in A: natural tensions\n5  | DMaj7   # the A7 before it makes D the key of the moment: the 4th is in the key\n6  | C#m7b5  # iiø7 of F#7b13: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | F#7b13  # V7\u002Fii in A: the b13 is in the key\n7  | DMaj7   # IV: the #4 is the key’s 7th\n8  | DMaj7\n9  | D#m7b5  # #ivø7 in A: Locrian, its own mode (the chord is outside the key)\n10 | Dm6     # a minor sixth chord: Dorian\n11 | A\u002FC#    # tonic: the 4th is in the key\n12 | Cm6     # a minor sixth chord: Dorian\n13 | B7      # II7 in A, not resolving: natural tensions\n14 | Bm7     # ii of the ii–V to A\n14 | E7      # V7 of A: natural tensions\n15 | AMaj7   # tonic: the 4th is in the key\n16 | AMaj7\n",1793484802998]