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Ted Greene Arrangement 1986-08-31
Compilation pages with notation interpretation by P. Vachon

Ted's Original Lesson sheets
GirlFromIpanema_Ted GreeneArr_1986-08-31.pdf
GirlFromIpanema_Ted GreeneLeadSheet_1973-09-03.pdf

My compilation page, changes and comparisons
GirlFromIpanema_Ted Greene_notation_grids_p1.pdf
GirlFromIpanema_Ted Greene_notation_grids_p2.pdf
GirlFromIpanema_Ted Greene_notation_grids_p3.pdf
GirlFromIpanema_Ted Greene_notation_grids_p4.pdf
GirlFromIpanema_Ted Greene_notation_grids_p5.pdf
GirlFromIpanema_Ted Greene_notation_grids_p6.pdf

Here is Ted’s arrangement for this well-know Bossa Nova tune which he wrote up on August 31, 1986. 
At the top of his original page he wrote:  “Outline format:  add missing melody tones and right hand rhythmic feel.”  This song is usually written in the key of F, but Ted chose the key of E in order to utilize some open strings.  And of course Ted could play this song in any key, open strings or no, in a wide variety of completely different stylistic interpretations according to his mood at the time. 

I wanted to do a simple compilation of Ted’s chord grid diagrams aligned to a lead sheet, but as I began working on it I realized that because some of the melody notes are missing in Ted’s diagrams, and because of a few “fills” and additional chords I decided that it might be clearer to also write out a notated version.  Please understand that my notation is only one way of how this arrangement could be rhythmically interpreted.  For a bossa that is so groove-based it is essential to for the musician to play it with a feel that is comfortable for him in order for the song to sound natural and smooth—and a stiff notated version seems to be contrary to that approach.  Nonetheless, my notation version just gets the pieces of the puzzle lined up in the general right spots—it’s up to the player to play around with it until he can freely interpret a natural “feel” that is part of how he hears it.  So that’s all I can suggest:  learn it as written first, but then find your own groove.

I compared five different fake book charts and found that each one rhythmically notated the melody differently.  I decided to use Ted’s handwritten lead sheet (also attached) as the outline for the chart, so thereby at least the melody is how he was hearing it (in September 1973 when he made his lead sheet).

Comments for a few fingering suggestions:  (page and line numbers refer to the compilation pages)
P.2, line 1:        The Fm11 is a pretty difficult chord to finger cleanly, especially when played in tempo.  Try dropping the C# on the 5th string to make it easier.  I think Ted would understand!

P.3, line 1:        Here Ted has chosen a Bm7(#5) chord.  This chord was recently discussed in the Forums regarding minor chords with an added flat-6, which can usually be interpreted as a 1st inversion of a major 9 (or major 7) chord.  But in this instance it is a true Bm7(#5).  Good to see that Ted provided us with a workable example.  Also see p.6, line 2 for another Bm7(#5) instance.

P.6, line 3:        I added the F7 chord (in red) at the 1st and final ending vamps, since this is what is often played here.  Disregard it if you prefer a different F7 voicing, or if you just want to hang on the E maj7 chord.

Sorry the compilation spans 6 pages, but I didn’t want to cram the notation and diagrams any tighter than necessary.  I hope this helps in learning Ted’s arrangement. 

Have fun with this one!
--Paul



 
   
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