[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:zum-zum":3},"title: Zum-Zum\ncomposer: Paulo Soledade, Fernando Lobo\nstyle: Bossa Nova\nkey: Am\nform: AABBAC, 60 bars\nrecording: Edu Lobo; Cantiga de Longe; Elenco; 1970\nyoutube: A5Y_N37cWag\n# analysis: 2026-10-28, rules v2; A minor\n# recording: Elenco SE 1006, arr. Edu Lobo and Hermeto Pascoal, prod. Aloysio de Oliveira; the first recording, Dalva de Oliveira's Odeon 78 (a carnival 1951 hit), has no confident first LP; rule 2; sources: Discogs, MusicBrainz, Letras (Paulo Soledade); video: Universal Music Group \"Provided to YouTube\" upload, album Cantiga de Longe, released 1970-04-07, 2:51\n\nsection: A1\n1  | Am9      # tonic minor: Dorian by convention\n2  | Am6\u002F9    # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n3  | Bm11     # ii of the ii–V to A minor\n4  | E7b9     # V7 of A minor: b9 and b13 are in the key\n5  | Am9      # tonic minor: Dorian by convention\n6  | Am6\u002F9    # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n7  | Bm11     # ii of the ii–V to A minor\n8  | E7b9     # V7 of A minor: b9 and b13 are in the key\n\nsection: A2\ncopy: A1\n\nsection: B1\n1  | Am9      # tonic minor: Dorian by convention\n2  | Am9\n3  | G7sus    # ♭VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | G7b9#11  # V7\u002FbIII in A minor: b9 and #11 from the symbol\n5  | CMaj9    # bIII of A minor: the relative major itself\n6  | F#7#11   # V7\u002Fii in A minor: 9, #11 and 13 from the symbol\n7  | Bm11     # ii of the ii–V to A minor\n8  | E7b13    # V7 of A minor: b9 and b13 are in the key\n\nsection: B2\ncopy: B1\n\nsection: A3\n1  | Am9      # tonic minor: Dorian by convention\n2  | Am6\u002F9    # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n3  | Bm11     # ii of the ii–V to A minor\n4  | E7b9     # V7 of A minor: b9 and b13 are in the key\n5  | Am9      # tonic minor: Dorian by convention\n6  | Am6\u002F9    # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n7  | Bm11     # ii of the ii–V to A minor\n8  | E7b9     # V7 of A minor: b9 and b13 are in the key\n\nsection: C\n1  | Am9      # tonic minor: Dorian by convention\n2  | Am9\n3  | G7sus    # ♭VII7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | G7b9#11  # V7\u002FbIII in A minor: b9 and #11 from the symbol\n5  | CMaj9    # bIII of A minor: the relative major itself\n6  | CMaj9\n7  | Bm11     # ii of E7b13: Dorian\n8  | E7b13    # extended ii–V: a side-step, its own key; b13 from the symbol\n9  | Bbdim7   # passing diminished: a rootless dominant ♭9; not functioning diatonically: the symmetric scale\n10 | A7       # V7\u002Fiv in A minor: the b13 is in the key\n11 | Dm7      # iv: Dorian, the key’s own notes\n12 | Bm7      # ii of the ii–V to A minor\n12 | E7       # V7 of A minor: b9 and b13 are in the key\n13 | Am7      # tonic minor: Dorian by convention\n14 | Am6      # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n15 | E\u002FG#     # a non-tonic major chord: Lydian\n16 | E\u002FG#\n17 | A\u002FG      # a non-tonic major chord: Lydian\n18 | A\u002FG\n19 | D\u002FF#     # a non-tonic major chord: Lydian\n20 | Dm\u002FF     # iv: Dorian, the key’s own notes\n20 | E7       # V7 of A minor: b9 and b13 are in the key\n@coda 20\n\nsection: Coda1\n1  | Am9      # tonic minor: Dorian by convention\n2  | Am6\u002F9    # tonic minor sixth chord: melodic minor, the raised 7th is a tension\n3  | Bm11     # ii of the ii–V to A minor\n4  | E7b9     # V7 of A minor: b9 and b13 are in the key; the repeat at Coda2 bar 4 would be E Half-Whole Diminished\n@coda 1\n\nsection: Coda2\ncopy: Coda1\n",1793484804807]