Desafinado - minor 6th voicings

[ScotGormley]

SETUP: I think of Desafinado as a 68-bar tune with (A1) - (A2) - (B) -
(C) form. The A and B sections each have 16 bars, and the C section
has 20 bars. I think of A2 as the second ending.

Q1: Can you folks suggest some good voicings for the Ebm6 in Bar 14 of
the B section? Earlier in the tune, the Eb9/Bb (fifth position) sounds
pretty good as Bbm6.

Q2: Additionally, when comping for a soloist, would you tend to
replace the minor 6th chords with minor 7ths, and just play minor 6ths
for the melody?

[Tim McNamara]

In article
<ace31a2e-f3bd-4803...@u41g2000yqe.googlegroups.com>,
ScotGormley <scot.g...@yahoo.com> wrote:

> SETUP: I think of Desafinado as a 68-bar tune with (A1) - (A2) - (B)
> - (C) form. The A and B sections each have 16 bars, and the C section
> has 20 bars. I think of A2 as the second ending.
>
> Q1: Can you folks suggest some good voicings for the Ebm6 in Bar 14
> of the B section? Earlier in the tune, the Eb9/Bb (fifth position)
> sounds pretty good as Bbm6.

On a guitar, that's a very reasonable voicing- the missing Eb is not
particularly noticeable and following the bass leading is helpful if
playing solo; less important if playing with a bassist.

For Ebmin6 I often use my usual grip for Eb:

x 6464x (ring-index-pinky-index)

and drop the b7 a half step to the 6th:

x6454x (ring-index-middle-index)

This is a close voicing that I find gets muddy on a guitar that doesn't
have good sonic separation between the strings. It works best on my
classical or on my Tele, less well on my solidbody with humbuckers and
OK on my archtop.

> Q2: Additionally, when comping for a soloist, would you tend to
> replace the minor 6th chords with minor 7ths, and just play minor
> 6ths for the melody?

I tend to keep the min6 chords because they have a distinct sound that
fits the character of the song.

--
"I wear the cheese, it does not wear me."

[Joey Goldstein]

Any standard grip for Ebm6 should work fine there.
Take all the grips you know for Ebmaj7; lower the 3rd 1 fret and use the
note 2 frets below the maj 7th instead of the maj 7th.

I'm not sure if that's the right change there anyway. Chuck Sher, the
author of the New Real Book series usually does very good research and
he's usually right about these types of things, but I've always heard
that change as really being D7b9, possibly with an Eb in the bass. (Or
Am7b5 D7b9 - 2 beats each.)

--
Joey Goldstein
<http://www.joeygoldstein.com>
<http://homepage.mac.com/josephgoldstein/AudioClips/audio.htm>
joegold AT primus DOT ca

[zepa]

On 3 jan, 09:11, ScotGormley <scot.gorm...@yahoo.com> wrote:
> SETUP: I think of Desafinado as a 68-bar tune with (A1) - (A2) - (B) -
> (C) form. The A and B sections each have 16 bars, and the C section
> has 20 bars. I think of A2 as the second ending.
>
> Q1: Can you folks suggest some good voicings for the Ebm6 in Bar 14 of
> the B section? Earlier in the tune, the Eb9/Bb (fifth position) sounds
> pretty good as Bbm6.
>

B section as composed by Jobim:

Amaj7 | A#bo | Bm7 | E7(13) | Amaj7 | Am7 | Bm7
(b5) | Bb7(b5) |
Cmaj7 | C#o | Dm7 | G7(13) | Gm7 | D7(b9) | G7(13) G7
(b13) | C7sus9 C7(b9) |

ZP

[rpjazzguitar]

Almir Chediak's book indicates that ZP and Joey are right.

The only voicing listed for the D7b9 is x5454x

So, the voice leading works out to xx333x xx454x and then xx345x,
leaving the bass notes for the bassist.

For a reharm, you could replace the D7b9 with Am7b5 to D7b9 and play
Gsus F9#11 and Csus leading to the F major in the C section.

[Bg]

Possible that Ebm6 could be another name for Ab9 tritone D7?
I'm presuming it's the 3rd measure from the end of the Bridge.

Bg

[ScotGormley]

> Bg- Hide quoted text -
>
> - Show quoted text -

Thanks, folks. I tried to reply to this yesterday, but looks like my
post failed. The tune sounds much better with the D7b9 (or Am7b5-
D7b9), and Ab7 sounds pretty good, too (or Ebm6 voiced like Ab7/Eb as
suggested earlier).

[Bg]

> suggested earlier).- Hide quoted text -

>
> - Show quoted text -

There's a similar movement (Gm, toEbm7,(ieAb7) back to Gm in the
beginning of the Bridge of another Jobim tune called Dindi.
I heard a version with Ray Brown playing on that tune and he plays
Gm,Em7b5,Am7b5,,D7 instead of just the 2 chords.
It all sounds fine.

Bg

[Bg]

TYPO I should have said Gm to Ebm6,Duh
Bg

[jim]

"zepa" <zepa....@gmail.com> wrote in message
news:89030434-02dc-43c4...@c3g2000yqd.googlegroups.com...

I've heard versions by Tom, Rosa, and Romero Lumbado where they do that
really cool descending line for the first four. The bass line is A/G#/G/F#.
I always thought that must be Jobim's, but I guess not, eh?
Jim

[jimmybruno]

I have always used the am7-5 to D7