[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:setembro":3},"title: Setembro\ncomposer: Ivan Lins, Gilson Peranzzetta\nstyle: Slow Bossa Nova\nkey: C\nform: AABBA, 44 bars\nrecording: Ivan Lins; Novo Tempo; EMI-Odeon; 1980\n# analysis: 2026-10-28, rules v2; C\n# recording: as \"Setembro (1º Movimento: Antônio e Fernanda) \u002F Caminho de Ituverava\"; written in 1980, the composer's own first recording (rule 1); Quincy Jones's \"Setembro (Brazilian Wedding Song)\" (Back on the Block, Qwest 1989) made it a jazz standard; sources: MusicBrainz, Dicionário Cravo Albin; video: none (no official upload)\n\nsection: A1\n# area: C major (A1 1–2)\n1  | CMaj7    # tonic: the 4th is in the key\n1  | G\u002FB      # V without its 7th: Mixolydian, the key’s own notes\n1  | Am7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | FMaj7    # IV: the #4 is the key’s 7th\n2  | C\u002FE      # tonic: the 4th is in the key\n2  | Dm7      # ii: Dorian, the key’s own notes\n# area: A major (A1 3–4)\n3  | Bm7      # ii of the ii–V to A\n3  | E9       # V7 of A: natural tensions\n4  | AMaj7    # tonic: the 4th is in the key\n4  | E\u002FG#     # V without its 7th: Mixolydian, the key’s own notes\n4  | F#m9     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: F# major (A1 5–6)\n5  | Abm9     # ii of the ii–V to F#\n5  | Db13     # V7 of F#: natural tensions\n6  | F#Maj7   # tonic: the 4th is in the key\n6  | Db\u002FF     # V without its 7th: Mixolydian, the key’s own notes\n6  | Ebm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: Eb major (A1 7–8)\n7  | Fm9      # ii of the ii–V to Eb\n7  | Bb13     # V7 of Eb: natural tensions\n8  | EbMaj7   # tonic: the 4th is in the key\n# area: C major (A1 8 – A2 2)\n8  | G7b9     # V7 of C: the b9 from the symbol; the repeat at A2 bar 8 would be G Phrygian Dominant\n@coda 8\n\nsection: A2\ncopy: A1\n\nsection: B1\n1  | Cm7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note); the repeat at B2 bar 1 would be C Dorian\n2  | Fm7      # ii: Dorian, the key’s own notes\n3  | Bbm7     # ii of Eb9: Dorian\n3  | Eb9      # extended dominant: V7 of Ab13sus\n4  | Ab13sus  # IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: Db minor (B1 4–8)\n4  | Ab7      # V7 of Db minor: b9 and b13 are in the key\n5  | Dbm7     # tonic minor: Dorian by convention\n5  | Dbm7\u002FB   # tonic minor: Dorian by convention\n6  | Bbm7b5   # iiø7 of Eb7b9#5: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | Eb7b9#5  # V7\u002Fv in Db minor: b9 and b13 are in the key, the #11 from the symbol\n7  | A7sus    # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n7  | D13      # extended dominant: V7 of G9sus\n8  | G9sus    # ♯IV7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n# area: C minor (B1 8 – B2 4)\n8  | G7b5     # V7 of C minor: 9, #11 and 13 from the symbol\n@nav 8 D.C. al Coda\n\nsection: B2\ncopy: B1\n\nsection: A3\n1  | CMaj7    # tonic: the 4th is in the key\n1  | G\u002FB      # V without its 7th: Mixolydian, the key’s own notes\n1  | Am7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | FMaj7    # IV: the #4 is the key’s 7th\n2  | C\u002FE      # tonic: the 4th is in the key\n2  | Dm7      # ii: Dorian, the key’s own notes\n# area: A major (A3 3–4)\n3  | Bm7      # ii of the ii–V to A\n3  | E9       # V7 of A: natural tensions\n4  | AMaj7    # tonic: the 4th is in the key\n4  | E\u002FG#     # V without its 7th: Mixolydian, the key’s own notes\n4  | F#m9     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: F# major (A3 5–6)\n5  | Abm9     # ii of the ii–V to F#\n5  | Db13     # V7 of F#: natural tensions\n6  | F#Maj7   # tonic: the 4th is in the key\n6  | Db\u002FF     # V without its 7th: Mixolydian, the key’s own notes\n6  | Ebm7     # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n# area: Eb major (A3 7–8)\n7  | Fm9      # ii of the ii–V to Eb\n7  | Bb13     # V7 of Eb: natural tensions\n8  | EbMaj7   # tonic: the 4th is in the key\n# area: C major (A3 8–12)\n8  | G7b9     # V7 of C: the b9 from the symbol\n9  | CMaj7    # tonic: the 4th is in the key\n9  | G\u002FB      # V without its 7th: Mixolydian, the key’s own notes\n9  | Am7      # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n10 | FMaj7    # IV: the #4 is the key’s 7th\n10 | C\u002FE      # tonic: the 4th is in the key\n10 | Dm7      # ii: Dorian, the key’s own notes\n11 | C\u002FG      # tonic: the 4th is in the key\n11 | G7       # extended dominant: V7 of Csus\n12 | Csus     # static sus: Mixolydian\n12 | CMaj7    # tonic: the 4th is in the key\n@coda 1\n",1793484803081]