Author Topic: Desafinado  (Read 1232 times)

david ward

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Desafinado
« on: October 26, 2016, 11:29:44 PM »
Nick - for the Gandalf group, I transcribed the chords from the Gal Costa version of Desafinado - apart from it being in the key of D, there are some variations from the usual changes.  See what you think!



Nick Weldon

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Re: Desafinado
« Reply #1 on: October 27, 2016, 10:44:21 PM »
Nice one! We'll probably do it in F and use the original changes and melody (pretty close to these ones) and definitely not any of the Real Book changes and melodies,  transcribed from the abomination that is Jazz Samba (Getz and Byrd)!

david ward

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Re: Desafinado
« Reply #2 on: November 02, 2016, 10:23:44 AM »
Thanks to the wonders of modern technology, herewith in the key of F.

Peter Houtman

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Re: Desafinado
« Reply #3 on: November 02, 2016, 08:49:53 PM »
I can't remember how I discovered the "official" Tom Jobim site recently - it's in ?Portuguese, but the links are relatively obvious - has (presumably authentic) lead-sheets for the popular numbers.

http://p.download.uol.com.br/tomjobim/partituras/desafinado.pdf
http://www2.uol.com.br/tomjobim/index_t.htm

Hope that's helpful.

Peter

(I'll be looking at Triste, for the JSAA ensemble)


Nick Weldon

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Re: Desafinado
« Reply #4 on: November 06, 2016, 12:09:25 AM »
Yes, that's the version I learned, but that's the clearest part I've seen - thanks! Have now done the set (concert, bass, Bb Eb) and uploaded to website...

david ward

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Desafinado: chord voicings
« Reply #5 on: November 07, 2016, 10:43:33 AM »
Thanks Peter and good to hear from you. Nick, regarding the chart that you kindly put up, can I offer a couple of observations?

1. The opening tonic F^7 chord might be voiced as a F^7/6 or F^7/6/9 the latter of which is produces a very quartal sound and is in keeping with that "uncommitted" harmonisation feel of Bossa Nova.

2. I've spent some time pondering the substitute dominant, Gb^7#11, thinking about it's similarities with other chord spellings.  The guitarist's initial voicing idea might be to raise the lower tonic and major third and major 7th of the F chord (F, A and E up to Gb, Bb and F), leaving the fifth where is is to give the #11 and ^7 of Gb.

However, for example, it can be voiced on the guitar in such a way that it is largely made up of fourths: C, F, Bb, C and F. Or it can look on the guitar like an Ab13 : Gb, C, F and Bb or even a D7b13 : C, Gb, Bb, F. Of course these voicings then produce scalar ideas. Going back to the idea of voicing the F as a ^7/6/9 chord then allows the Gb to be played on the guitar with a semitone side slip up from the F chord: E, A D, and G up to F, Bb, Eb and Ab.

3. Would bar 29 be based on a (high) pedal E idea, where the chord sequence is A, Ab7b13, G13 and then F#7 rather than F#13?

4. If anyone has an idea of the harmonisation concept behind the four bars 37- 40 I'd be glad to hear it!

See you on Sunday!

David


Twitchell

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Re: Desafinado
« Reply #6 on: July 19, 2017, 09:59:27 AM »
This is a good one David, thanks!