[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:wave":3},"title: Wave\naka: Vou Te Contar\nsubtitle: Bossa nova (12 12 8 12)\ncomposer: Antonio Carlos Jobim\nstyle: Latin\nkey: D\nform: AABC, 44 bars\nrecording: Antonio Carlos Jobim; Wave; A&M; 1967\nyoutube: JGqzKmp_5Bg\n# analysis: 2026-10-19, rules v2; D\n# recording: recorded May 1967, Van Gelder Studio, Englewood Cliffs, Jobim with Claus Ogerman (arr.), Ron Carter, Urbie Green, prod. Creed Taylor (A&M\u002FCTI SP 3002); the title track, Jobim's own first recording; sources: Wikipedia; video: Universal Music Group \"Provided to YouTube\" upload, album Wave, released 1967-06-15, 2:57\n\n# bar | chord | scale\n\nsection: A1\n# area: D major (A1 1 – A2 10)\n1  | DMaj9     # tonic: the 4th is in the key\n2  | Bbdim7    # passing diminished: A7♭9 without its A, the D7b9's dominant (Am7 its ii)\n3  | Am7       # ii of the ii–V to G\n4  | D7b9      # V7\u002FIV in D: the b9 from the symbol\n5  | GMaj7     # the D7b9 before it makes G the key of the moment: the 4th is in the key\n6  | Gm6       # a minor sixth chord: Dorian\n7  | F#13     |  | V7\u002FVI  # * V7\u002FVI in D: the b9 is in the key, the 13 from the symbol\n7  | F#7b13    # extended dominant: V7 of B9sus4; b13 from the symbol\n8  | B9sus4    # VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | B7b9      # extended dominant: V7 of E9sus4; b9 from the symbol\n9  | E9sus4    # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n9  | E9       |  | V7\u002FV   # * V7\u002FV in D: natural tensions\n10 | Bb9       # tritone substitute: resolves down a half step to A7b13\n10 | A7b13     # V7 of D: the b13 from the symbol\n11 | Dm9       # ii of G13: Dorian\n11 | G13       # extended ii–V: a side-step, its own key\n12 | Dm9       # ii of G13: Dorian\n12 | G13       # extended ii–V: a side-step, its own key\n\nsection: A2\n1  | DMaj9     # tonic: the 4th is in the key\n2  | Bbdim7    # passing diminished: A7♭9 without its A, the D7b9's dominant (Am7 its ii)\n3  | Am7       # ii of the ii–V to G\n4  | D7b9      # V7\u002FIV in D: the b9 from the symbol\n5  | GMaj7     # the D7b9 before it makes G the key of the moment: the 4th is in the key\n6  | Gm6       # a minor sixth chord: Dorian\n7  | F#13     |  | V7\u002FVI  # * V7\u002FVI in D: the b9 is in the key, the 13 from the symbol\n7  | F#7b13    # extended dominant: V7 of B9sus4; b13 from the symbol\n8  | B9sus4    # VI7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n8  | B7b9      # extended dominant: V7 of E9sus4; b9 from the symbol\n9  | E9sus4    # II7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n9  | E9       |  | V7\u002FV   # * V7\u002FV in D: natural tensions\n10 | Bb9       # tritone substitute: resolves down a half step to A7b13\n# area: D minor (A2 10–12)\n10 | A7b13     # V7 of D minor: b9 and b13 are in the key\n11 | Dm7       # tonic minor: Dorian by convention\n11 | G\u002FD      |  | C: V   # * V without its 7th: Mixolydian, the key’s own notes\n12 | Dm7       # tonic minor: Dorian by convention\n12 | G\u002FD      |  | C: V   # * V without its 7th: Mixolydian, the key’s own notes\n\nsection: B\nkey: F\n# area: F major (B 1–3)\n1  | Gm7       # ii: Dorian, the key’s own notes\n2  | Gm6\u002FBb    # a minor sixth chord: Dorian\n3  | Am7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n@key 5 Eb\n# area: Eb major (B 5–8)\n5  | Bb9sus4   # static sus: Mixolydian\n6  | Fm6\u002FAb    # a minor sixth chord: Dorian\n7  | Gm7       # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n8  | A7sus4b9  # from the symbol: sus b9\n\nsection: C\nkey: D\ncopy: A1\n",1793484804472]