GHARLIEETRD

JAZZ'N'F@R GUITAR SAN4BA

rhrE r4usrGoFANTo)Nl@
ii3:tl'5itri+:iED @mPG{ GARL@S

/lllfrltrclllli()rr rrf tlc Bossrr Noi'rt.

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1)lrrrzrrrg 2
5()rlr 7vl',r r/1 /'lossa Nrri'rr llltrrtllrrt l)rrllr'r'rs . . .l
CHEGA t)U SAUDADE (No ,\'lor,'8Jrrr'st 26
DESAFINAI)O (s/is/rt/v Ort Ol Trorct 5
l)ON'l tVf-lt GO AWAY (Por Carsrr I)r'Iirri) .12
FsI'F.R,\\C A PIRDIDA ].I
ESTE StL OLllAI{ I f/rrrt Lo,-l ) r,rr l|t'rrrr l8
FOI A NOI]E 1/r l\irs \'rglrrr. .. 10
IT ilAS NIGHTtiroiA Noirr') 10
JAZZ 'N' SAI,lttA (S,i Darrqo Sarrrl,,rt . . 8
N() MORI Sarr,lrrrlt't
ULUES t Clrt'.ga Dc 26
O QUE f QUE VAI SER DE MIM 16
POR CAUSA DE VOCf (Drrrr f Fi'cr C-rr Ailrr.vr 12
SE T()IX)S |OSSEM ICUAIS A VOCE t.sorrcorrc To Liglrt Ulr r\lv Lif e t . 27
SLIGHTLY OUT OF TUNE ( f)L'srrfrrrrrr lo ) . . 5
5d I)ANCO 1
SAMUA r/,i:: \' s,rrrrbrr I 8
SOMEO:\-E 1 O LIGHT UP MY LIFE t Se' To,/os Fo-sse'rtt lgrrais A l/ocd t .. 21
TtlAl LOOK YOU WEAR llstr,5r'rr C)J/r,rrt 18
vE\l \',tvFR S rU i raOo 14

IJO\ U-9 50\'G5,

FLY llE TO THE IVtOON r.lrr Ot/r.'r l\',,r,ist ..29
O PAlO fjr, fr,,i ...30
l HOSE iVERE THE DA) 5 . .. . ...32

TftOlg"'.1',-1"YY"?'^?;'^Y,?;
 INTERPRETATION OF THE BOSSA NOVA
The bo6sa nova should almost play itself, There is no feeling of "pushrtaa

ln s lazz plece. Juet ride along easily with everythtng rather understated -- much

more subtle than, aay, the mambo or cha-cha-cha.

, Not only must the melody

be played louder than its surrounding notes, but it must also be phrased with a
certaln amount of freedom. Mueh of the beauty and excitement of the bossa nova

lies i.L t]le contraat between the melody, phrased rather freely, and the rhythm

section whlch is rather tight sounding and very even. This is well illustrated by

the music of Villa- Iobos. This greatest of Brazilian composers wrote many

highly rhythmic pieces for the guitar,but did not hesitate to employ ritards,ral-
lentandos, accelerandos and other breaks in tempo in order to enhance the mel-

ody.

HOW TO PRACTICE THESE ARRANGEMENTS

Some of the arrangements ln this folio will be a challenge for the average

pleyer. I would llke to Buggest a method of practice that may be helpful. Use a

metronome or other method of keeping a slow, steady tempo. Keep the eighth note

ln mind as the baeic rhythmic unit, not the quarter note. hactice very slowly un-
til you have the co-ordination of the various parts under the hand as well as in

your ear. ot y then should you attempt to bring the piece up to proper tempo.

PLAYING RHYTHM GUITAR IN THE BOSSA NOVA

I thtnk a few words mlght be appropriate here on tlre subject of playing

rhythm gultar ln the bossa nova. For exam.ple, when backing up a vocalist or so-

lolst:

Just adding even eighth notee to the rhythm s€ction is a help:

€tc.
 Editorts note: In the bossa nova,and other Intin American music as well,

the eighth note is interpreted a8 lt is in claesical music, tlat le, exactly evenly.

Note the difference between this and the tazz interpretation whlch makes eighth

noteo sound more like ), ) ). J * .J ) J )

To the basic eigbth note pattern may be added bas8 notea. These may be

half notee: etc.

or dotted quarters followed by elghth notes:

The underlylng accentuatlon of the bossa nova is derived from the old Spanish

tVrhrrrt
Xa {? ( In the most wpical bo66a nova beat, ttris rhythm

rs combtned wuh us mtlror r^ s., (' ft f l f (a (

Editorrs note: Except for the lst quarter note of the 2nd bar. thi8 cor-

responds exactly to the clave beat as used in the bos6a nova. Anyone interested

ln the constructlon of Latln music ghould realize that the clave beat is it8 whole

foundation: rhythmic, melodic and harmonic.

Compare the traditlonal clave beat (r6ed in the cha-cha-cha, bolero, be-

guine, etc.) with the bosga nova clave.

Tladitional cleve Bosea nova clave

(' {( (lt((tll(rtrltettll
Notice especially the subtle shift in accent ln the second bar.

Although it is imposslble to glve exact rules for rhythm playins, a hint may

be in order here. If the drummer is playing even elghth notes, the Sultarist

ehould play wit! a great deal of freedom. But if the drummer ie accentlng,the

glitarist should try to avoid conllicting too much with these accents. That ie,he

must play "in clave." A compa.rison between the rhythmic flgures on page 4

and the bo8sa nova clave beat will ghow you what this mean8,
 SOME TTUCAL BOSSA NOVA RIIYTHM PATTERNS

3) 6( r ( 0

4) 0r 0r LIau( 0l 0

IMPONTANT
The chord dtagrana whlch ere found wlth each arrangenent are neant aa
eld to players wboee rlgbt resdlDg ls rct all tt shqrld be. They ahorld not be
for tbe rfotbn guttar part.
 DESAFINADO
English Lyric bY (Slightly Out Of Tune)
Original text by
JON HENDRICKS and NEWTON MENDONCA
JESSIE CAVANAUGH Music by
ANTONTO CARLOS JOBrM
c?ile
Boss a nova tempo
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6

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a

lrglis h Lyric by JAZZ'N' SAMBA

\OR\l.{N CIMBEL (Sb Dango Samba)
tron lhe nlm COfACABA\A pAl.AC€
T\rne lowest string to D. Origina I Text and Mus ic by
Em7 ANTONIO CARLOS JOBIN4 and
mrj A13b e VINICIUS DE MORAES
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O Copynght loo3and 1065 Edrloni Suvini Z?rboni S.p.A . Milan hrlv

fnp LUDLOWMUSIC, lNC., New York. (onr rols ail publi(ar ion ri8hrs lor rhe U S A .ndCanada
lnbrnalional Copyrirht Secur€d Madein U S A.
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r0

IT WAS NIGHT
(Foi A Noite)
Samba - Cancao
English L1,ric by
GENE LEES Original Text and Music by
ANTONIO CARLOS JOBIM and
NEWTON MENDONgA

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-tii"iloitrivri3ic. rirc- N.", vo't l.ont'ols allPublication rights for the U s A and canada
liiirutiorul Coov;chr *tured Ma& in IJ S A
ruiAi*f's n *.t"a t,.tudin8 Publ'( Per{orman<e For Prolit
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T2
DON'T EVER GO AWAY
(Por Causa De Voce)
Samba- Cancao
English lyric by RAY GILBERT Original text by DOLORES DURTN
Music by AI.|TONIO CARLG JOBIM

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O-Copyrirht 1957, '1965and 1967 Edi(oes Eulerpe Ltda.. Riode janeiro. B.azil
rRJ DEVoN MUstc.INC.. New york. contiot",[ ilai."ri; dii; i;iiire u.s.A. ana canaa:
lnrarnarion lCopyrishr Sccured Maite in U.S.A
AII RjrhLs Res€Ned lrrludinr Pubtic performanc. For profit
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t4
VEM VIV ER A MEU LADO
Samba - cancao
Original Text and Music by
ANTONIO CARLOS JOBIM and
ALCIDES FERNANDES
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lno HOILIS MUSIC, NC., Ncw YorL, controls all publication riShls for the U.s.A. .nd c.nada
lnrrrution l CopyriSht lcurld Mdcin U.S.A.
All Ri8hB R.r.rv.d lEludin8 Frblic P.t{orrn nc! Fo. Profil
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t6

,t

O QUE E QUE VAI SER DE MIM

Samba

Original Tcxt and Music by

ANTONIO CARI-OS JOBII\4

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.rno' fiOiLLtSMUSIC, NC., Ncw York, controls allpublication riShls for the U S.A. and C.nada
I;';-rnation:l coDvnrhts.cuad Ma& in U s A
.lll Rlehrs Rcscni.d hchdina Publi( P.rformrn<! For Ptofit
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D.S.aI Coda
r8

THAT LOOK YOU WEAR

(Este Seu Olhar)

English Lyric by
GENE LEES
Original Text and Music by
dirn (add E) ANTONTO CARLOS JOBrM

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FmaJ? Cm?

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O_Copydthi 1959, 195{ ard 1965 Edirora MusicalArapu., Sro paulo, Brazil
?nO HOLLIS MUSIC, INC., Ncw York, conrrols all public.tion
lntsrnatiorul Copyright Secured - for rhe U.S.A. end Canada
MaiLinU.S.A.'i8hrs
All Rishb R?s.rv€d lrEludins Publi< Pcr(orm.rrr For P'orir
 t9

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 SOMEONE TO LIGHT UP MY LIFE 2r
(Se Todos Fossem lguais A VocA)
Samba- Cancao
English Lyric by Original Text by VINICIUS DE \,lOMES
CENE LEES Music by ANTONIO CARLOS JOBIN'I
F? Barre III G7 Barre Itr
EEtr
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€ C@v'iphr 1958 19o{ ard l9o5 Edico.3 EutrrDc Ltda.. Rio d. l.n€'ro. Eraz'l
fno'ho:LllSMUSlC NC.. New Yorl. controls allpublication ri8lts for the U S.A. and Canada
lntsrnational Copyri8ht SGcured M.d€ in U.S.A.
All Rithts Rescrvrd lrrludint Public P.rform.nc. Fot Profit
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z4
ESPERANqA PERDIDA

Original Text and Music by

ANTONIO CARLOS JOBIM and BILLY BLANCO

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TRO HAVPSHIRE HOUSE PUBLISHING CORP., New York. conrrols allpublication lighrs for rhe U.S.A. and Canada
lnbrnational Copyri8ht Secur€d Mad. in U.S.A.
All R{hs Reserued lrrludint Public Perlormanc€ For Profil
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 z6 NO MORE BLUES
(Chega De Saudade)

English Lyric by Original Text and Music by

JON HENDRICKS and ANTONIO CARLOS JOBIM and
JESSTE CAVANAUGH VINICIUS DE MORAES

Bossa nova tempo

A7+ 5
xxl23l
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r v
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(The Duck)
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Words and Music bY
GENE RASKIN
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