On a another thread:
http://www.synthzone.com/ubbs/Forum37/HTML/009224.html Drdalet shared with us the nice chords
he uses (on his Yamaha arranger in'full fingered' split mode) on the tune: "Girl From Ipanema". Realizing"Girl From Ipanema" as a universally recognized and played by most (or at least many of us) here, and that this song is open to so many chord voicing & chord substitution possibilities, I thought it would be interesting to find out what chords & voicings are used on this tune by other musicians here as well. For the sake of consistancy & the fact that this song is most commonly shown in fake books in the key of F, I request that people present their chords & chord voicings in F as well.
Here are the left hand chords (and LH chord voicings) I typically play (on my Tyros in 'fingered' mode, with split point set at F#2 ) for this tune. To fill out the chordss to include chord extension alterations such as (b9), I include this note in the right hand harmonized below the melody note. For example, in measure 6 of the A section, if I choose to include the b9 note, I'll play a Db below the melody note played in my right hand. In this instance I would play a C7 chord in the LH instead of the C9 voicing shown and voice it : E-Bb-C to avoid the strong dissonance of D2 with the Db3, though sometimes this dissonance can be a desirable thing.
A Section:
|FMaj7|./.|G13|./.|
FMaj7: F-A-C-E
G13: F-B-E
|Gm7|C9|FMaj7|F#13|
Gm7: F-G-Bb-D
C9: E-Bb-D
FMaj7: F-A-C-E
F#13: E-Bb-Eb
Bridge (B) Section:
|GbMaj7|./.|B7| ./.|
GbMaj7: Gb-Bb-Db-F
B7: F#-A-B-D#
|F#m7|./.|D9|./.|
F#m7: F#-A-C#-E
D9: F#-C-E
|Gm7|./.|Eb9| ./.|
Gm7: F-G-Bb-D
Eb9: G-Db-F
|Am7|F#dim| Gm7|C9|
Am7:G-A-C-E
F#dim7: F#-A-C-Eb
Gm7: F-G-Bb-D
C9: E-Bb-D
I now look forward to hearing what chords (and voicings) others here use on the "Girl From Ipanema".
Scott
Addendum:
Yet another terrific ASSET of arranger keyboards is that they allow us to discover different chord substitution possiblities which will work with a particular song. These include discovering tri-tone substitions:
http://www.apassion4jazz.net/tritone.html and other types of substitions (on bass, chord alterations (b9, #9, b13, alt, dim, etc) which open up the musical chord palette of playing & sounding possiblities.
Perhaps some of you wonder WHY when you play a familiar song from sheet music or fakebook it doesn't sound the quite same as heard on the record or when performed live by pro musicians. One reason is that the chords presented in fakebooks are typically just the basic bare boned chords, and more often than not, NOT the ones actually played on the record or by pro musicians when you go out to hear music (especially jazz & standards) at a leading nightclub. Chords & how you voice them & which ones you use can make the BIG difference in sounding amatuer or professional. Here's a great book on chord substitions which I highly recommend:
http://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=HCS&Category _Code=ARRCOM [This message has been edited by Scottyee (edited 10-30-2004).]
Previous Topic
Index