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  Manhã De Carnaval  

Ted Greene Accompaniment Chords with compilation pages by Paul Vachon
** Watch Video Footage

Ted's Original Lesson sheets

My compilation pages, changes and comparisons

Manhã de Carnaval is a classic Brazilian Jazz/Bossa Nova written by by Luiz Bonfá for the 1959 film, Orfeu Negro (English title, Black Orpheus).  The Portuguese translation of "Manhã de Carnaval" is “Morning of Carnival.”  It is also known in the USA as “A Day in the Life of a Fool” or “Carnival.”  This song is often mistakenly referred to in English as Black Orpheus (this is how it’s listed in many fake books).

Ted’s July 24, 1990 original lesson sheet is what he is reviewing in the video lesson.  Please watch the video to hear Ted play through this page.  This isn’t a chord-melody arrangement, but a combination of some rich chords Ted chose for playing an accompaniment to a singer or instrumentalist.  (Ted adds the melody with his famous whistle as he plays!)  Later on in the video lesson Ted improvises a Lenny Breau-type chord melody solo for part of the song, but that isn’t covered in these pages. 

Also included is Ted’s handwritten lead-sheet that he wrote up in September 1973.  The attached compilation pages simply aligned Ted’s chord diagrams to a lead-sheet consisting of the melody, standard changes, and lyrics.  It’s a little easier to follow like this.  I’ve also added the chord names above each chord, since Ted left this blank for the student to fill in. 

Comments for a few fingering suggestions:  (page and line numbers refer to the compilation pages)
P.1, line 1:        Finger the E7(b5) as:  open,4,1,1,open.  Use a single-finger double-stop on strings 2 & 3.

P.1, line 4:        Finger the B7(b5) as: 3,1,2,2 and then keep the first finger planted and just roll it back to get the 3rd string as you go the next chord.

P.2, line 3:        I didn’t name the third chord on this line.  Probably E11/13(b9) or E13sus4(b9) would fit, but there is no b7, so doesn’t exactly fit as a dominant.

P.2, line 3:        I really like the Am6/9 – Fmaj7 – B7(#5#9) – E7(#5b9) sequence.  Beautiful voice leading!  I guess you could also think of that first chord as D13/F# instead of Am6/9.

As you can see Ted didn’t write anything for the 4-bar Tag at the end of the song, so you’ll need to add something here yourself.  You might want to use some textures similar to what Ted used throughout the song, i.e., lush close-voicings, open strings, throw in some 9ths and 6ths, and maybe a bass pedal or a descending bass line. 


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