[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:so-tinha-de-ser-com-voce":3},"title: Só Tinha de Ser com Você\ncomposer: Antonio Carlos Jobim\nstyle: Bossa Nova\nkey: F\nform: ABC, 50 bars\nrecording: Elis Regina & Antonio Carlos Jobim; Elis & Tom; Philips; 1974\nyoutube: mefitCyCx_E\n# analysis: 2026-10-28, rules v2; F\n# recording: recorded February-March 1974, MGM Studios, Los Angeles, arr. César Camargo Mariano (Philips 6349.112); the version that made the song the standard, with Jobim at the piano and singing (earliest found: Eumir Deodato, 1964); rule 2; sources: Discogs, MusicBrainz, Wikipedia (Elis & Tom); video: Universal Music Group \"Provided to YouTube\" upload, Elis Regina & Antonio Carlos Jobim, ℗ 1974 (compilation Bossa Love Songs, the Elis & Tom master), 3:49\n\nsection: A\n# area: B minor (A 1–14)\n1  | FMaj7      # a non-tonic major chord: Lydian\n2  | C7#9       # V7\u002F#IV in B minor: the #11 is in the key, b9 and #9 from the symbol\n3  | FMaj7      # a non-tonic major chord: Lydian\n4  | Gb7#11     # V7 in B minor, not resolving: 9, #11 and 13 from the symbol\n5  | Cm7        # ii of F7b9: Dorian\n6  | F7b9       # extended ii–V: a side-step, its own key; b9 from the symbol\n7  | Bm7b5      # iø7 in B minor: Locrian, its own mode (the chord is outside the key)\n8  | Bbm6       # a minor sixth chord: Dorian\n9  | A7#9       # extended dominant: V7 of D7b9; b9, #9 and #11 from the symbol\n10 | D7b9       # extended dominant: V7 of G13; b9 from the symbol\n11 | G13        # bVI7 in B minor, not resolving: the #11 is in the key\n11 | G7b13      # extended dominant: V7 of C7sus; b13 from the symbol\n12 | C7sus      # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n13 | FMaj7      # a non-tonic major chord: Lydian\n14 | GbMaj7#11  # from the symbol: #11\n\nsection: B\n# area: F major (B 1 – C 3)\n1  | FMaj7      # tonic: the 4th is in the key\n2  | G13        # V7 of V7: the dominant of the dominant: natural tensions\n2  | C7#9       # V7 of F: b9, #9 and #11 from the symbol\n3  | FMaj7      # tonic: the 4th is in the key\n4  | G13        # V7 of V7: the dominant of the dominant: natural tensions\n4  | C7#9       # V7 of F: b9, #9 and #11 from the symbol\n5  | FMaj7      # tonic: the 4th is in the key\n6  | C7alt      # from the symbol: altered\n7  | Cm7        # ii of F7b9: Dorian\n8  | F7b9       # V7\u002FIV in F: the b9 from the symbol\n9  | Bm7b5      # #ivø7 in F: Locrian, its own mode (the chord is outside the key)\n10 | Bbm6       # a minor sixth chord: Dorian\n11 | A7#9       # extended dominant: each one falls a fifth into the next: b9, #9 and #11 from the symbol\n12 | D7b9       # extended dominant: each one falls a fifth into the next: the b9 from the symbol\n13 | G7         # V7 of V7: the dominant of the dominant: natural tensions\n14 | C7b9       # extended dominant: V7 of F7; b9 from the symbol\n15 | F7         # extended dominant: V7 of Bb7\n16 | Bb7        # extended dominant: V7 of Eb7\n16 | Eb7        # extended dominant: V7 of Ab7\n17 | Ab7        # extended dominant: V7 of Db7\n17 | Db7        # ♭VI7 from the parallel minor: Lydian Dominant\n18 | G7         # V7 of V7: the dominant of the dominant: natural tensions\n18 | C7#9       # V7 of F: b9, #9 and #11 from the symbol\n\nsection: C\n1  | FMaj7      # tonic: the 4th is in the key\n2  | G13        # V7 of V7: the dominant of the dominant: natural tensions\n2  | C7#9       # V7 of F: b9, #9 and #11 from the symbol\n3  | FMaj7      # tonic: the 4th is in the key\n# area: F minor (C 4–17)\n4  | G13        # V7 of V7: the dominant of the dominant, on the way to F minor: the b9 is in the key, the 13 from the symbol\n4  | C7#9       # V7 of F minor, the chain's last link: the b13 is in the key, b9, #9 and #11 from the symbol\n5  | Fm7        # tonic minor: Dorian by convention\n6  | C7#9       # extended dominant: V7 of F7sus; b9, #9 and #11 from the symbol\n7  | F7sus      # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | F7         # I7 in F minor, not resolving: the b13 is in the key\n9  | Bm7b5      # #ivø7 in F minor: Locrian, its own mode (the chord is outside the key)\n10 | Bbm6       # a minor sixth chord: Dorian\n11 | Am7        # a borrowed minor chord: Dorian, its own key\n12 | Ab7        # V7\u002FbVI in F minor: natural tensions\n13 | DbMaj7     # a non-tonic major chord: Lydian\n14 | C7#5       # extended dominant: V7 of F7; #11 and b13 from the symbol\n15 | F7         # extended dominant: V7 of Bb7\n16 | Bb7        # extended dominant: V7 of Eb7\n16 | Eb7        # extended dominant: V7 of Ab7\n17 | Ab7        # extended dominant: V7 of Db7\n17 | Db7        # tritone substitute: resolves down a half step to C7#9\n# area: F major (C 18 – Coda1 3)\n18 | C7#9       # V7 of F: b9, #9 and #11 from the symbol\n\nsection: Coda1\n1  | Bm7        # a borrowed minor chord: Dorian, its own key\n2  | Bb7        # extended dominant: V7 of Eb7\n2  | Eb7        # extended dominant: V7 of Ab7\n3  | Ab7        # extended dominant: V7 of Db7\n3  | Db7        # ♭VI7 from the parallel minor: Lydian Dominant; the repeat at Coda2 bar 3 would be Db Phrygian Dominant\n# area: B minor (Coda1 4 – Coda2 4)\n4  | G7         # extended dominant: V7 of C7#9\n4  | C7#9       # tritone substitute: resolves down a half step to Bm7; b9 and #9 from the symbol\n@coda 1\n\nsection: Coda2\ncopy: Coda1\n",1793484803329]