[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:the-island":3},"title: The Island\naka: Começar de Novo\ncomposer: Ivan Lins, Vitor Martins\nstyle: Medium Latin\n# book: Med. Latin\nkey: C\nform: ABC, 57 bars\nrecording: Sarah Vaughan; Crazy and Mixed Up; Pablo Today; 1982\nyoutube: 8_aF_D-KID0\n# analysis: 2026-10-19, rules v2; C\n# recording: recorded 1982-03-01\u002F02, Sarah Vaughan with Roland Hanna, Joe Pass, Andy Simpkins, Harold Jones, Pablo Today 2312-137; Brazilian song (Começar de Novo, 1979) → the Bergmans' English lyric in the jazz reading players know, over Ivan Lins's own Portuguese original (Wikipedia, Discogs); video: \"Provided to YouTube by Universal Music Group\", Crazy and Mixed Up, the same take\n\n# through-composed; B is A a half step up from its bar 9; melodic rhythm freely interpreted\n# bar | chord\n\nsection: A\n# area: C major (A 1–10)\n1  | Am9        # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n2  | Am9\n2  | DbMaj7\u002FEb  # ♭IImaj7, borrowed from C Phrygian: Lydian (its ♯11 is in the key)\n# bar 2: DbMaj7\u002FEb is an accented hit late in the bar\n3  | CMaj7\u002FD    # tonic: the 4th is in the key\n4  | D13        # II7 in C, not resolving: natural tensions\n5  | FMaj7\u002FG    # IV: the #4 is the key’s 7th\n6  | G7sus4b9   # from the symbol: sus b9\n7  | CMaj9      # tonic: the 4th is in the key\n8  | FMaj9      # IV: the #4 is the key’s 7th\n9  | Bm7b5      # iiø7 of E7b9#5: Locrian, the key's own notes (its ♭2 is a passing note)\n10 | E7b9#5     # V7\u002Fvi in C: b9 and b13 are in the key, the #11 from the symbol\n# area: Ab major (A 11–20)\n11 | Bbm7       # ii of the ii–V to Ab\n12 | Eb9        # V7 of Ab: natural tensions\n13 | AbMaj7     # tonic: the 4th is in the key\n14 | Gm7b5      # iiø7 of F minor: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | C7b9#5     # V7\u002Fvi in Ab: b9 and b13 are in the key, the #11 from the symbol\n15 | Fm7        # ii of Bb9sus4: Dorian\n16 | Bb9sus4    # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n16 | Bb13       # V7\u002Fv in Ab: natural tensions\n17 | Ebm7       # ii of Ab9sus4: Dorian\n18 | Ab9sus4    # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n18 | Ab9        # V7\u002FIV in Ab: natural tensions\n19 | DbMaj9     # the Ab9 before it makes Db the key of the moment: the 4th is in the key\n19 | F7#5#9     # V7\u002Fii in Ab: the b13 is in the key, b9, #9 and #11 from the symbol\n20 | Bbm7       # ii: Dorian, the key’s own notes\n20 | Gbm9       # a borrowed minor chord: Dorian, its own key\n# area: C major (A 21–23)\n21 | Gm7        # ii of C7b9#5: Dorian\n22 | C7b9#5     # V7\u002FIV in C: b9, #11 and b13 from the symbol\n23 | GbMaj7     # a non-tonic major chord: Lydian\n# area: Bb minor (A 24 – B 10)\n24 | Cm7b5      # iiø7 of Bb minor: Locrian, the key's own notes (its ♭2 is a passing note)\n24 | F7b9#5     # V7 of Bb minor: b9 and b13 are in the key, the #11 from the symbol\n\nsection: B\n1  | Bbm9       # tonic minor: Dorian by convention\n# alt (optional): bar 2, a hit late in the bar (DMaj7\u002FE)\n3  | DbMaj7\u002FEb  # bIII of Bb minor: the relative major itself\n4  | Eb13       # IV7 in Bb minor, not resolving: natural tensions\n5  | GbMaj7\u002FAb  # a non-tonic major chord: Lydian\n6  | Ab7sus4b9  # from the symbol: sus b9\n7  | DbMaj9     # bIII of Bb minor: the relative major itself\n8  | GbMaj9     # a non-tonic major chord: Lydian\n9  | Cm7b5      # iiø7 of F7b9#5: Locrian, the key's own notes (its ♭2 is a passing note)\n10 | F7b9#5     # V7\u002Fi in Bb minor: b9 and b13 are in the key, the #11 from the symbol\n# area: A major (B 11 – Ending 6)\n11 | Bm7        # ii of the ii–V to A\n12 | E9         # V7 of A: natural tensions\n13 | AMaj7      # tonic: the 4th is in the key\n14 | G#m7b5     # iiø7 of F# minor: Locrian, the key's own notes (its ♭2 is a passing note)\n14 | C#7b9#5    # V7\u002Fvi in A: b9 and b13 are in the key, the #11 from the symbol\n15 | F#m7       # ii of B9sus4: Dorian\n16 | B9sus4     # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n16 | B13        # V7\u002Fv in A: natural tensions\n17 | Em7        # ii of A9sus4: Dorian\n18 | A9sus4     # I7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n18 | A9         # V7\u002FIV in A: natural tensions\n19 | DMaj9      # the A9 before it makes D the key of the moment: the 4th is in the key\n19 | F#7#5#9    # V7\u002Fii in A: the b13 is in the key, b9, #9 and #11 from the symbol\n20 | Bm7        # ii: Dorian, the key’s own notes\n20 | Gm9        # a borrowed minor chord: Dorian, its own key\n21 | G#m7       # ii of C#7b9#5: Dorian\n22 | C#7b9#5    # extended ii–V: a side-step, its own key; b9, #11 and b13 from the symbol\n23 | GMaj7      # ♭VIImaj7, borrowed from A minor: Lydian (its ♯11 is in the key)\n24 | C#m7b5     # iiø7 of B minor: Locrian, the key's own notes (its ♭2 is a passing note)\n24 | F#7b9#5    # V7\u002Fii in A: the b13 is in the key, b9 and #11 from the symbol\n\nsection: C\nbars: 12\n1  | Bm9        # ii: Dorian, the key’s own notes\n# alt (optional): bar 2, a hit late in the bar (EbMaj7\u002FF)\n3  | DMaj7\u002FE    # IV: the #4 is the key’s 7th\n4  | E13        # V7 in A, not resolving: natural tensions\n5  | GMaj7\u002FA    # ♭VIImaj7, borrowed from A minor: Lydian (its ♯11 is in the key)\n6  | A7sus4b9   # from the symbol: sus b9\n7  | DMaj9      # IV: the #4 is the key’s 7th\n8  | GMaj9      # ♭VIImaj7, borrowed from A minor: Lydian (its ♯11 is in the key)\n8  | C13        # back door bVII7 to DMaj7\u002FA: the #11 is in the key\n9  | DMaj7\u002FA    # IV: the #4 is the key’s 7th\n9  | F#7\u002FA#     # VI7 in A, not resolving: the b13 is in the key\n\nsection: Ending\nbars: 8\n# the ending is a repeated vamp: bars 1–3 rit. on the first pass, then a tempo; vamp and fade\n# its last bar is overfull as printed (free rhythm): Em11, E\u002FF#, F#\u002FG#\n1  | Bm7        # ii: Dorian, the key’s own notes\n3  | Em11       # a borrowed minor chord: Dorian, its own key\n3  | E\u002FF#       # V without its 7th: Mixolydian, the key’s own notes\n4  | Bm7        # ii: Dorian, the key’s own notes\n6  | Em11       # a borrowed minor chord: Dorian, its own key\n6  | E\u002FF#       # V without its 7th: Mixolydian, the key’s own notes\n6  | F#\u002FG#      # a non-tonic major chord: Lydian\n",1793484803815]