[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:simple-samba":3},"title: Simple Samba\ncomposer: Jim Hall\nstyle: Up samba\nkey: C\nform: ABCDE, 90 bars (solos on ABCD, 70 bars)\nrecording: Jim Hall; Where Would I Be?; Milestone; 1972\nyoutube: avRknOnPgs8\n# analysis: 2026-10-19, rules v2; C\n# recording: recorded July 1971, Mediasound, NYC, with Benny Aronov, Malcolm Cecil, Airto Moreira, Milestone MSP 9037, the album's opener; the first recording of it, the composer leading (Wikipedia, Wikipedia \"Jim Hall compositions\"); video: \"Provided to YouTube by Universal Music Group\", Where Would I Be?, the same take\n\n# book tempo marking: Fast Samba, in cut time\n# solo on ABCD (play through the drum fills); after solos, D.C. al Coda: the coda is taken in E after bar 18\n# kicks on beat 4 may be omitted for solos; bass and piano tacet during the drum fills in the head\n# bar | chord\n# a guitar pickup into A\n\nsection: A\nbars: 14\n# area: C major (A 1 – B 14)\n1  | CMaj7      # tonic: the 4th is in the key\n3  | Bm7b5      # iiø7 of A minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | E7         # V7\u002Fvi in C: b9 and b13 are in the key\n5  | Am7        # ii of the ii–V to G minor\n6  | D7         # V7\u002Fv in C: natural tensions\n7  | Gm7        # ii of the ii–V to F\n8  | C7         # V7\u002FIV in C: natural tensions\n9  | FMaj7      # the C7 before it makes F the key of the moment: the 4th is in the key\n10 | Dm7b5      # iiø7, borrowed from C minor: Locrian\n# AMaj7 is anticipated on bar 10, beat 4\n11 | AMaj7      # a non-tonic major chord: Lydian\n# bars 11–14: drum fill (piano pickup in bar 14)\n\nsection: B\nbars: 22\n1  | DMaj7      # a non-tonic major chord: Lydian\n3  | C#m7b5     # iiø7 of B minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | F#7        # V7\u002Fvii in C: b9 and b13 are in the key\n5  | Bm7        # ii of the ii–V to A minor\n6  | E7         # V7\u002Fvi in C: b9 and b13 are in the key\n7  | Am7        # ii of D7: Dorian\n8  | D7         # V7\u002FV in C: natural tensions\n9  | G#m7b5     # bviø7 in C: Locrian, its own mode (the chord is outside the key)\n10 | Gm7        # a borrowed minor chord: Dorian, its own key\n11 | F#m7       # a borrowed minor chord: Dorian, its own key\n12 | Bm7        # a borrowed minor chord: Dorian, its own key\n13 | Fm7        # ii of Bb7: Dorian\n14 | Bb7        # extended ii–V: a side-step, its own key\n@key 15 Ab\n# area: Ab major (B 15–18)\n15 | Bbm7       # ii of the ii–V to Ab\n16 | Eb7        # V7 of Ab: natural tensions\n17 | AbMaj7     # tonic: the 4th is in the key\n18 | Fm7b5      # viø7 in Ab: Locrian, its own mode (the chord is outside the key)\n# CMaj7 is anticipated on bar 18, beat 4\n@key 19 C\n# area: C major (B 19 – C 1)\n19 | CMaj7      # tonic: the 4th is in the key\n# bars 19–22: drum fill (guitar pickup in bar 22)\n\nsection: C\nkey: C\n1  | FMaj7      # IV: the #4 is the key’s 7th\n@key 3 Eb\n# area: Eb major (C 3–5)\n3  | Fm7        # ii of the ii–V to Eb\n4  | Bb7        # V7 of Eb: natural tensions\n5  | EbMaj7     # tonic: the 4th is in the key\n@key 7 Db\n# area: Db major (C 7–13)\n7  | Ebm7       # ii of the ii–V to Db\n8  | Ab7        # V7 of Db: natural tensions\n9  | DbMaj7     # tonic: the 4th is in the key\n11 | Gb9#11     # tritone substitute: resolves down a half step to Fm7\n13 | Fm7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n# book: Bb(b9)sus\n@key 15 Eb\n# area: Eb major (C 15 – D 15)\n15 | Bb7sus4b9  # from the symbol: sus b9\n16 | Bb13       # V7 of Eb: natural tensions\n\nsection: D\nkey: Eb\nbars: 18\n1  | EbMaj7     # tonic: the 4th is in the key\n3  | Dm7b5      # iiø7 of C minor: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | G7         # V7\u002Fvi in Eb: b9 and b13 are in the key\n5  | Cm7        # ii of the ii–V to Bb minor\n6  | F7         # V7\u002Fv in Eb: natural tensions\n7  | Bbm7       # ii of Eb7: Dorian\n8  | Eb7        # V7\u002FIV in Eb: natural tensions\n9  | Am7b5      # #ivø7 in Eb: Locrian, its own mode (the chord is outside the key)\n10 | Abm7       # a borrowed minor chord: Dorian, its own key\n11 | Gm7        # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n12 | C7b9       # V7\u002Fii in Eb: the b13 is in the key, the b9 from the symbol\n13 | Fm9b5      # ii of the ii–V to Eb\n14 | Bb7#5b9    # V7 of Eb: b9, #11 and b13 from the symbol\n# Eb69 is anticipated on bar 14, beat 4\n15 | Eb69       # tonic: the 4th is in the key\n# bars 15–18: drum fill (piano with bass pickup in bar 18)\n\nsection: E\nkey: Ebm\nbars: 22\n# E (head only): the book prints its chords in parentheses, (Ebm9) and (Dbm9), naming the written-out guitar voicings; they are its only chords, so they are rows here\n# area: Eb minor (E 1–7)\n1  | Ebm9       # ii of the ii–V to Db minor\n# book: \"Ab bass\" under the voicing, pushed on bar 6, beat 4 (written Ebm9\u002FAb)\n7  | Ebm9\u002FAb    # static sus: Mixolydian\n# bars 8–10: rests (a Db pickup on bar 10, beat 4)\n@key 11 Dbm\n# area: Db minor (E 11–20)\n11 | Dbm9       # ii of Dbm9\u002FGb: Dorian\n# book: \"Gb bass\" under the voicing, pushed on bar 16, beat 4 (written Dbm9\u002FGb)\n17 | Dbm9\u002FGb    # static sus: Mixolydian\n# bars 18–20: rests; the coda sign stands after bar 18\n18 | Dbm9\u002FGb\n@coda 18\n@nav 18 To Coda\n20 | Dbm9\u002FGb\n@nav 20 D.C. al Coda\n\nsection: Coda\nkey: Eb\n# bar 1 a rest (piano), the guitar's E9b5 on bar 2; bars 3–5 N.C. (melody, then drums); Eb hit on bar 6, beat 4\n1  | N.C.\n@coda 1\n# area: Eb major (Coda 2–6)\n2  | E9b5       # tritone substitute: resolves down a half step to Eb\n3  | N.C.\n6  | Eb         # tonic: the 4th is in the key\n",1793484803169]