[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:the-dolphin":3},"title: The Dolphin\ncomposer: Luiz Eça\nstyle: Bossa Nova\nkey: E\nform: ABCA, 42 bars\nrecording: Tamba 4; We and the Sea; A&M; 1967\nyoutube: P1pPSNoX-Tk\n# analysis: 2026-10-28, rules v2; E\n# recording: Van Gelder Studio, prod. Creed Taylor (A&M\u002FCTI SP-3004), Luiz Eça's own group (Tamba 4, Eça on piano), the composer's first recording found; rule 1; sources: Discogs, MusicBrainz; video: Universal Music Group \"Provided to YouTube\" upload, album We and the Sea, ℗ 1967, 2:25\n\nsection: Intro\n# area: E major (Intro 1)\n1  | F#Maj7    # a non-tonic major chord: Lydian\n# area: F# major (Intro 2–3)\n2  | G7#11     # tritone substitute: resolves down a half step to F#Maj7\n3  | F#Maj7    # tonic: the 4th is in the key\n# area: E major (Intro 4 – A1 2)\n4  | E7        # V7\u002FIV in E: natural tensions\n\nsection: A1\n1  | AMaj7     # IV: the #4 is the key’s 7th\n2  | B7\u002FA      # V7 in E, not resolving: natural tensions\n# area: C major (A1 3–8)\n3  | Ab7alt    # from the symbol: altered\n4  | Db7alt    # from the symbol: altered\n5  | CMaj7     # tonic: the 4th is in the key\n6  | CMaj7\n7  | F#m7b5    # iiø7 of E minor: Locrian, the key's own notes (its ♭2 is a passing note)\n8  | B7b9      # V7\u002Fiii in C: b9 and b13 are in the key\n\nsection: B\n# area: D major (B 1–3)\n1  | Em7       # ii of the ii–V to D\n2  | A7sus     # V7sus4 resolving down a fifth: Mixolydian, the 4th is a chord tone here\n3  | DMaj7     # tonic: the 4th is in the key\n# area: Bb minor (B 4–7)\n4  | F7b13     # V7 of Bb minor: b9 and b13 are in the key\n5  | Bbm9      # tonic minor: Dorian by convention\n5  | Bbm       # tonic minor: Dorian by convention\n6  | BbmMaj7   # from the symbol: minor-major 7th\n6  | Bbm7      # tonic minor: Dorian by convention\n7  | Bbm6      # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n# area: D major (B 8 – C 10)\n8  | A7b9#9    # V7 of D: b9, #9 and #11 from the symbol\n\nsection: C\n1  | DMaj7     # tonic: the 4th is in the key\n2  | Em7       # ii of A7: Dorian\n2  | A7        # V7\u002FI in D: natural tensions\n3  | C#m7b5    # iiø7 of F#7b13: Locrian, the key's own notes (its ♭2 is a passing note)\n4  | F#7b13    # V7\u002Fvi in D: b9 and b13 are in the key\n5  | Bm7b5     # iiø7 of E7b9: Locrian, the key's own notes (its ♭2 is a passing note)\n6  | E7b9      # extended ii–V: a side-step, its own key: b9 and b13 are in the key\n7  | Dm7       # ii of G7: Dorian\n8  | G7        # extended ii–V: a side-step, its own key\n9  | Bm7       # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n10 | E7sus4b9  # from the symbol: sus b9\n# area: E major (C 11 – A2 10)\n11 | C#m7b5    # iiø7 of F#7alt: Locrian, the key's own notes (its ♭2 is a passing note)\n12 | F#7alt    # from the symbol: altered\n13 | B7alt     # from the symbol: altered\n\nsection: A2\n1  | E7alt     # from the symbol: altered\n2  | AMaj7     # the E7alt before it makes A the key of the moment: the 4th is in the key\n3  | B7\u002FA      # V7 in E, not resolving: natural tensions\n4  | G#7alt    # from the symbol: altered\n5  | C#7alt    # from the symbol: altered\n6  | F#7       # V7 of V7: the dominant of the dominant: natural tensions\n7  | B7        # V7 of E: natural tensions\n8  | EMaj7     # tonic: the 4th is in the key\n9  | C7\u002FE      # ♭VI7 from the parallel minor: Lydian Dominant, it returns to I\n10 | EMaj7     # tonic: the 4th is in the key\n# area: B major (A2 11–13)\n11 | C7\u002FE      # tritone substitute: resolves down a half step to BMaj7\n12 | BMaj7     # tonic: the 4th is in the key\n13 | EMaj7     # IV: the #4 is the key’s 7th\n",1793484803803]