Double Bass Chart for Desafinado?

[brianrost]

I have the (illegal) Real Book v5 with the butchered chart for Desafinado. Looking for a book that has it correct.

Also, what is the most common key? The Getz/Byrd version is in F but I've heard Jobim on a few recordings in Eb. Yes, I know I need to know it in all 12 but I have to start somewhere!

 

[longfinger]

The 'Great Gig Book' has a usable chart in F.

 

[Scott Lynch]

The New Real Book Vol. 1 also has a chart in the key of F.

 

[nickbass]

Don't get me started...
here's a link

 

[Blissful_Lad]

Don't get me started...
here's a link

But, the "missing 4 measures version" has stood the test of time, and been unquestioned for decades by the college Real Book jazz-minions!

 

[brianrost]

So I was at rehearsal yesterday and brought the chart that nickbass linked above. The guitarist had RB 6th ed. I compared the 6th ed. chart to the 5th ed. chart and the missing four bars were there. However, that chart did not agree in a number of sections with the one I had downloaded. So I quietly put it away, we played the 6th ed. chart and I have more deep listening homework to do at home

Thanks for the replies so far.

 

[the_Ryan]

These are the changes that João Gilberto plays on both his original and with Stan Getz. I would consider these to be closest to the original since he and Jobim were close collaborators.

 

[Don Kasper]

From an earlier discussion back in 2016 -click on the chart to EMBIGGEN.

I've transcribed (and transposed to Eb) the harmony of these 4 versions (below) of Desafinado, onto 1 chart - to show the Harmonic similarities AND differences between each performance.
Each measure shows the harmony of the 4 versions - stacked top to bottom in the order of the YTs below (1.2.3.4.), color-coded for clarity.
I don't believe that these versions were "improvised" in a jazz sense, but rather, were either read or played previously so as to eliminate harmonic ambiguity or confusion.
(NOTE: version #3, shows the bassist "screwing the pooch"/ or, playing notes that are not supportive of the harmony, in the 15th and 16th measures of the last A section - see "Ab* Db*".)
I'm a big fan of "know and play the effin' changes!".
Enjoy!

1.
2.
3.
4.
View attachment 807909

 

[brianrost]

So... I'm far behind you... but... I find that I can't... "accept" these "wrong" changes as you have.

Hey, it's just a rehearsal group and I hadn't compared the charts against actual recordings yet. Which is what I meant about doing more "deep listening".

Learning jazz tunes for me is reading charts while listening to different recordings, transcribing bass lines and solos, comparing those to the charted chords, etc. That's a sloooooow process.... While I can transcribe bass parts without seeing a chart, figuring out "correct" chords (esp. with tensions) by ear is beyond me at this point in time. I'm the baby of the ensemble, so I'll defer to the more experienced players until I have done more shedding on the tunes.

This is turning into a great thread, though. How many other tunes have so many different chart "interpretations" floating around?

 

[longfinger]

So I was at rehearsal yesterday and brought the chart that nickbass linked above. The guitarist had RB 6th ed. I compared the 6th ed. chart to the 5th ed. chart and the missing four bars were there. However, that chart did not agree in a number of sections with the one I had downloaded. So I quietly put it away, we played the 6th ed. chart and I have more deep listening homework to do at home

Thanks for the replies so far.

The thing is, we need to give the melody and chord folks a little more time to learn the new charts and listen to the recordings. Playing chord-melody on guitar is an art of practiced arrangement. It's tough to perform that in front of a crowd without preparation. Not worth the risk of failure for him, right? After all, he's the one who will sound bad, not you. Ditto for melody players given charts in new keys. I presented the Desafinado chart shown here last year, to my group and the folks were willing to play it, until the sax player saw the chart was in Eb, when he plays the melody from memory in concert F. I guess he could learn it in Eb, but he's happy in F. If I want to hear certain chords, I should present a chart in concert F that he can play with, and the pianist can easily comp without a lot or preparation. (They can keep the charts to work on too.) Sometimes, as bassists, we are used to playing in different keys, changes etc, it's no big deal playing roots, 5ths, and 3rds, but for others, they need more prep time.