[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:tristeza":3},"title: Tristeza\ncomposer: Haroldo Lobo, Niltinho\nstyle: Samba\nkey: D\nform: AABC, 58 bars\nrecording: Jair Rodrigues; Dois na Bossa Número 2; Philips; 1966\n# analysis: 2026-10-28, rules v2; D\n# recording: recorded live at Teatro Record, São Paulo, and first issued on the single Tristeza \u002F Se Papai Gira (Philips 365.138 PB, 1966), then on the LP Dois na Bossa Número 2 with Elis Regina (Philips P 632.792 L); the carnival 1966 hit that made the song known (first recorded by Ari Cordovil, 1965); rule 2; sources: Discogs; video: none official\n\nsection: A\n1  | GMaj7   # the D7 before it makes G the key of the moment: the 4th is in the key\n2  | G6      # IV: the #4 is the key’s 7th\n3  | Gm6     # a minor sixth chord: Dorian\n4  | Gm6\n5  | F#13b9  # III7 in D, not resolving: the b9 is in the key, the 13 from the symbol\n6  | F#7#5   # extended dominant: V7 of B9sus; #11 and b13 from the symbol\n7  | B9sus   # VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | B7b9#5  # extended dominant: V7 of E13; b9, #11 and b13 from the symbol\n9  | E13     # II7 in D, not resolving: natural tensions\n10 | E7#5    # extended dominant: V7 of A9sus; #11 and b13 from the symbol\n11 | A9sus   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | A7      # V7 of D: natural tensions\n13 | DMaj7   # tonic: the 4th is in the key\n14 | D7      # I7 in D, not resolving: natural tensions\n15 | A13     # V7 of D: natural tensions\n@ending 1 14\n@ending 2 15\n\nsection: B\n1  | D       # tonic: the 4th is in the key\n2  | D\n3  | D+      # from the symbol: augmented\n4  | Bm\u002FD    # vi: Aeolian, the key's own notes (the ♭6 is a passing note)\n5  | Em      # ii: Dorian, the key’s own notes\n6  | C\u002FE     # ♭VII, borrowed from D minor: Lydian (its ♯11 is in the key)\n7  | Em6     # a minor sixth chord: Dorian\n8  | Em7     # ii: Dorian, the key’s own notes\n9  | F#m7    # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n10 | F#m7\n11 | Em7     # ii of the ii–V to D\n12 | A7      # V7 of D: natural tensions\n13 | DMaj7   # tonic: the 4th is in the key\n14 | DMaj7\n15 | D7      # V7\u002FIV in D: natural tensions\n16 | D7\n\nsection: C\n1  | GMaj7   # the D7 before it makes G the key of the moment: the 4th is in the key\n2  | G6      # IV: the #4 is the key’s 7th\n3  | Gm6     # a minor sixth chord: Dorian\n4  | Gm6\n5  | F#13b9  # III7 in D, not resolving: the b9 is in the key, the 13 from the symbol\n6  | F#7#5   # extended dominant: V7 of B9sus; #11 and b13 from the symbol\n7  | B9sus   # VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | B7b9#5  # extended dominant: V7 of E13; b9, #11 and b13 from the symbol\n9  | E13     # II7 in D, not resolving: natural tensions\n10 | E7#5    # extended dominant: V7 of A9sus; #11 and b13 from the symbol\n11 | A9sus   # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | A7      # V7 of D: natural tensions\n13 | DMaj7   # tonic: the 4th is in the key\n14 | D7      # V7\u002FIV in D: natural tensions\n",1793484804194]