: } } TABLE OF CONTENTS Foreword o.ccccsnnnemnee oo 4 Acknowledgements Antonio Carlos Jobim (biography) Paulo Bellinati (biography) 8 Notation seis leveeenennsenenenenrons a ene 9 Estrada Branca 10 Bate-Boca ..... i4 Luiza 17 Por Toda a Minha Vida «0... 20 Antigua 22 Chora Corasao Garoto (Choro). end Valsa do Porto das Caixas. 34 A Pelicidade scsesciasttiitiatt cartes tater avea State etnias 38 Surfboard4 FOREWORD Jn 1999 I began to select the compositions and conceive the arrangements contained in this bock After recording the Paulo ellnati Plays Antonio Carlos lobim DVD (Mel Bay Pablications) in 2001, | started the actuel work of writing the material in order to produce the most accurate guitar parts for every single piece recorded on the DVD. For a number of yessons st took me much longer than Id planned, and I only managed to wind up the work on the remaining two scores at the beginning of 2006, adding the final fingering and dynamic indications. Tm very proud to finally meke this project available to everyone who loves to play this refined repertoire. One seldom finds printed popular music that contains more than melody and chord symbols. An accurate transcription of 2 popular work that contains all the events that go on in an instrumental performance is even more eae My desize to fill in this void, coupled with my deep love of Jobim's musicas well as the possibility of having many other guitzrists play my arrangements in the future, swayed me into tackling this project My main goal was to transpose the universe of this masterful Brazilian composer to the guitar. Jobim was a well- isspected arranger who was highly attentive to details; his extreme good taste emerged not only in his sublime anclodies and harmonies bat also in all the other finishing parameters of a musical work such as introductions, counterpoint improv, isatlons, dynamics, nuances, and even rhythmic details of the accompaniment. Moreover, intended to present quite a ifferent Jobim from the one who came up with "Garota de Ipanema’ and ‘One Note Samba these and so many sthers, but by no means less wendertul Hossa Nova standards, were not the pieces I was looking fer while assernbling ts collection, First of al, I've worked over the songs with real possibilities to be transposed for solo guitas, more precsely, the gones ‘without Iyries, such a "Bate-Boca”, "Antigua’, “Geroto’, ‘Valsa do Porto das Caixes', and "Surfboard", originally instrumental works that reveal a much more sophisticated Jobim, closer to his favorite classical composers sich 26 Debussy; Ravel, Chopin, Gnattal, and Villa-Lobos. Secondly, the songs of more introspective and romantic charactor like “Estrada Branes" (the oldest Jobim piewein ths back frst recorded in 1958 by Elzsth Cardovo), “Amparo’, “Gabriela, "Por Toda a Minna Vide" “Chora Cerscios "A Felicidade” (the famous theme ffom the motion picture Black Orpieus) and “Luiza’ the mest beautiful and pertecs Seely songever written. Unfortunately, "Gabriela" and “Amparo” had to be let out ofthis collection du t unaccuptate contescteal demands made by the copyright ornare. [hope willbe abet nciade these missing arrangements int ete panting Another goal of this publication was to contribute to the Bravilian solo guitar literature, which has been played ecorded by increasingly more soloists around the world. The musical consistency of the picses presented her certainly will move artists to include some of them in their concert program, side by side with othe: masterpieces written by Villa-Lobos, Femambuco, Garoto, Gnaitali, Mignone and other great mecstros from Brazil My previous publication The Guitor Works of Garoto (GSP-1990) - two volumes of folies with the music ofthe great Brasilien guiterist Anibal Augusto Sardinha (Garoto) was a challenge in the sense that my goal was to recover an original guitar work that had boen lost. [even wrote @ couple of arrangements, but for most of the pieces, the main bedy of werk ‘was to transcribe note by note from Garoto's original recordings and /or manuscript. For this Jobim project I faced an even greater challenge, all the pices here have been arranged and re-crested, completely written out from scratch, based on Jobim’s original recordings alone. I did not use any previous guitzy version even as a simple telezence, except for my own versions of "Luiza" and "Garota’ reeorded on my Serenata CD (GSP 1993) Hoping this book fulfills most of the aspirations stated above, I sincerely wish, dear colleague, you will have as ‘much fu reading and playing these pieces as [ have had all these years Enjoy! Paulo Bellinati ie PauloACKNOWLEDGEMENTS 5 “This book is dedicated to my family and friends who love Jobim's music es much as { do. Th -y gave sme the energy, support and i piration to complete this project. I sincerely thank Claudia Simées for the wonderful watercolor she painted especially for the cover, Branko Kukurin for the picture of me taken at the live concert at the 2004 Kastay Guitar Festival-Croacia, Marcitio Godoi for all the graphic ideas and the digital treatment of the cover art, Daniel Marray for first reading all the pieces, searching for (and finding) occasional mistakes in my manuscript, Mirella Zilli Cele for the English version of the Jobim biography, José Murray for asking me to include “Bate-Eoca” in the repertoire, Clauctio Leal Ferreira for the lead sheet of "Valsa do Porto das Caixas”, Cristina Azuma for having flown trom Paris to the US. especially to play “Amparo” with me on the DVD, Edgerd Posas for the excellent suggestions during my research, Rick Udler and fetey Udler for the English proof-reading/ editing of the texts in this book, and Bay for making this project come true. A special thanks to my friends Alan and Esther Haddad for their generous help and constant encouragement ever since this project was first conceived ['malso very grateful to my dear friends and excellent musicians Carlos Barbosa-Lima, Sergio Sarraceni, and Luiz Roberto Oliveira, for providing me with the honor to meet Jobim personally, and for alway believing Finally; 1 want to thank my dear wife, Fernanda de Castro, from the bottom of my heart, and my wonderful kids, Carlo and Giulia, for their endless love and for making my life complete. Paulo Bellinati6 ANTONIO CARLOS JOBIM Antonio Carlos Brasileiro de Almeida Jobim was bom on January 25th, 1927 in Rio de Janeiro, and lived most of his youth in the Ipanema neighborhood. His first instrument was the guitar and then he ‘ook up the piano. Inieal cheeses with the renowned Hane Joachim Koellreuter were fllowed by further piana studies under lucis Branco and Those Teter and orchestral arrenging under Leo Peracchi. As an architecture undergraduate Jobim did ¢ oriet stint at an architecture office. Upon cealizing his true calling he abandoned all other vocational pursuits in order to become Professional pianist and to shady harmony. in 1849 he married his high-school sweetheart, Tereza, making ends meet by playing at Rio de Janeiro nightclubs qeige Pears lates he was hired by Continental Records where he wrote arrangements for important singe’s suchos Dalve de Oliveira, Orlando Silva, Eizeth Cardoso, and Dick Famey. At that time the main arranger at Continental wat Readeonee Grnattali, wo coached Jobim as his musical gockson J 1995 “Incerteza”, co-authored with Newton Mendonga, was his first song to be recorded. In 1954, singers Dick Farey and Lécio Alves did a duet recording of “Tereza da Praia’, co-authored with Billy Blanco which became hae inet Hit He and Billy Blanco also composed the music forthe album Sinfonia do Rio de Jancro, with arrangements oy Radiance Grateli which was leter included inthe soundtrack ot Esse Rio Que Eu Ama, a Figo Christoncen films Amonget tn fst Steers 'o record his music were Nora Ney and Elizeth Cardoso who attracted serious attention to the talento this young composer 4m 1936 Jobim met the legendary poet and lyricist Vinicius de Moraes, who invited him that very veer to compose the music for his play Orjeu ds Conceigzo, which was presented at the Municipal Theatre of Rio de fancite, te elon being released on EMI subsidiary Odeon. The Jobim-perined samba “A Felicidade” (Iyrics by Vinicius de Morses) was included in the Marcel Camus film Biack Orpheus, which received the 1959 Palm d'Or at the Cannes Film Festival, ana the Onece te Best Foreign Film in 1960, ‘The Sylvia Telles album, Carica, released in 1936, included the hit “oi a Noite", co-authored with Newton Mendonse. The groundbreaking “Chega de Saudade", composed with Vinicius de Moraes, was a atsior hallmark ip he catwer and in the history of Brazilian music Released in 1956 on the Flizeth Cardoso album “Cangie de Amor Done, swith musical direction and orchestral arrangements by the composer, intmoduced Joo Gilherto’s innovetive puter accompaniment In 1959, Jodo Gilberto’ first album, “Chega de Saudade” (Odeon), featured tho ttle song aa well as “Desafinado” {fotim Mendonca), two breathtaking sambes which launched the Bossa Nova movement thereby radically changing the {bcs of Bracillan popular music forever, That same year six of his songe including "Desafinado” becaine big hits the of them co-authoree with Vinicius do Moraes: “Eu Sei Que Vou Te may", “A Felicidade”, “Brigas Nunca Mele” los Dindi, with Alovsio de Oliveira, and “Este Seu Char. {2 1962 lobim and Vinicius de Moraes composed "Garota de Ipanema”, one of the most widely recorded songs in {he world. On November 21 of that same year, he performed with other artists at the legendary Bocca Nove chore nt Cemegie Hall New York He composed the soundtrack for Paulo César Saztacent's film Porto das caizas that yeer ac well Between 1968 and 1964 he recorded two albums in the United States: The Composer of Desafnado Plays (Verve) and Ze Wonderful World of Antonio Carlos Jobim (Wamer), which included “Por Tada a Minha Vida", “Velsa do Porto des Caan’ and “Surfboard”, Duting this period Jobim established Corcovado Music, his own publithing company, in the UPS. He also made a guest appearance on the Sérgio Menles-led Besse Nove York album featuring Att Farmer among cther First-rete jace musicians such as Ella Fitzgerald, Coleman Hawkins, Curtis Fuller, Zoot Sims, Herbie Mann and Dizzy Gillespie started recording his music. The Gefz/Gilterto (Verve) album, featuring Antonio Carlos Jobim cele! seo. rillion copies the first year alone, {in 1964in Brazil, he recorded the classic album Caymms Visto Tom (Elenco) with Dorival Cayinuni and family: When they got together to record the album, Caymmi’s gift to Jobim was a samba-cum-waltz number “Das Rosen” to which Jobim espended with another new song “86 Tinha de Ser Com Voce”. That same year he also composed the sourdirack for Sacha Gordine’s film Santo Médico.In 1965 Jobim recorded the albuin A Certain Mr. jobém (Warner) with arrangements by Claus Ogerman. Two years later, he recorded the alluurn Fenncis Allert Sinatra & Anténio Carlos Jobirs (Reprise) which won the Gremmy Award for best Voce] aAbum of the year. Jobim’ success in the United States was extraordinary, second only to The Beetles in sales Riding on the wave of music lestivals, which exploded in Brazil during the 1960s, “Sabia”, co-authored with Chico Buarque, was performed at the Grd International Gong Festival in 1968, winnings first prize and receiving one of the longest ovations in the history of Brazilian music festivals Between 1967 and 1970 further US, releases followed: Wagy (A&eM), whose ttle track has become a standard, Tide (ASM) - both arranged by Claus Ogerman, and See Flower (CTI), with arrangements by Eumir Deodato, including instrumental hits “Amparo” and “Caroto" In 1970 he composed the soundtrack for the Louis Gilbert film Tle Adventurers ‘The second sessions with Frank Sinatre, produced by Eumi: Deodato, took place in 1969 with the tracks being issued in 1071 under the tile, Siuzire and Company (Reprise The elbuum Matita Peré (MCA Philips) released in 1973 incluced the classic "Aguas de Margo” as well as “Cronica ca Case Assassinada” - a four-piece suite that became the Soundtrack to another Paulo César Saraceni film. Another sersion of “Aguas de Margo," which Jobim recorded with Elis Regina in 1974 on the album Elis & Tom (Philips/ Verve), ‘went on to become one of his most succassful hits. In 1977 Jobim recorded the album Mischa & sintdnio Carios jobins (RCA), 2s well as the Live album Tim, Vinicius, Toquinho & Miucha in Rio de Janeiro at the Canccac. Jobim composed the music for several movies: Eu Te Amo (1980) a film by Arnaldo Jabor. Gabriel Barreto, and Para Viver Um Grande Amor (1983) by Miguel Faria Jinios, which was also zeleased as an al 1982) by Bruno. uum on Columbia, In the late 1970s/early 1980s, important albums such as Urubu (1975-Wacnes), Te (1980-Warer), Edw € Tont (1981-Philips), Tom Jobin e Bily Blanco (1983-Relevo) the soundtrack, Gabriela (198%-BMG), and O Tenspo eo Vente (1685. Som Livre) were released. In 1984, he fonred the group Banda Nova, which performed at Camegie Hall. The following year. he performed with Jozo Gilberto at the Montreux Festival, Switzerland, In 1987, he and his Banda Nova recorded the albums Tom Jobim Ingdito (BMG) and Passarim (Vervel, which included the hit “Luiza”, composed for the TV soap opera Bridhante (TV Globo) In 1990 Jobim recorded another live album Tov cazia Vinicius which was finally released by Jobim Music in ten vyears later. 1 1992 at Rio de Janeiro's camival parade, 'Fstacdo Primeiza de Mangueirs’ samba school paid tribute to Jobim’s life and music with the theme “Se Todos Fosse Iguais A Voce”, the same ttle as the song that he composed with Vinicius cde Moraes in the 1950s, In 1964he released Antinio Brssileir; the album won a Grammy in the Best Latin Jazz Performance eat Antonio Carles Jobim passed away on December 8th, 1994 following post-surgical complications at Mount Sinai Medical Center in New York City. He hed traveled to the US, for bladder cancer treatment. His songs have been recorded and performed by artists throughout the world, and his legacy to the Brazilian music repertoire is an incalculable treasure.8 PAULO BELLINATI Born in Sio Paulo in 1950, Paulo Bellinat is one of Brazil's most accomplished contemporary guitarists, He studied classical guitar with Isaias Savio and graduated from the Conservatory Dramitica e Musical of S30 Paulo. From 1975 to 4980, Bellinati lived in Switzedland, continuing his musical studies af the Conservatory of Geneva and teaching at Conservatory of Lausenne. At that time he also performed with his own group in many European fest'vals inehading the ‘Montreux Jazz Festival, the Ozone Jazz Festival in Neachitel, and the Festival du Bois de La Batie in Geneva Besides performing solo concerts and giving master clastes in many international guitar festivals, he also tours swith different ensembles inchiding his own guitar trio, the Pau Brasil group, and with the Brazilian singer Monica Salmeso. He has both recorded and performed with these and other important artists including Steve Swallow, Carls Bley; Cal Costa, Renoud Carca-Foné, Antonio Placer, Leila Pinheiro, Jo3o Bosco, Cesar Camargo Mariano, Edu Lobo and Chico Buarque Aside from being a performer, composer and arranger, Bellinati is also a respected musical scholan He rediscovered, transcribed snd recorded the music of the great Brazilian guitarist-composer Annibal Augusto Sardinha (Caroto), His landmark recording The Cuitar Works of Garoto (GSP) and two-volume edition of Geroto's works have received Intemational critical acclaim and recognition for their historical significance, sws from the rich tradition of Brazil, and most of his compositions are weitten in Brazilian’ renata, Baia, ng traditional Paule Bellinatt musical styles such as Landu, Modinha, Schottisch, Choro, Serests, Maxixe, Jongo, Samba, Valea S Maracatu, Frevo, and Xaxado. He has developed 2 contemporary approach to Brazilian folklore, ener forins with modern compositional techniques and harmonies. He has written arrangements for guitar solo, duo and trio, guitar & clarinet, guitar & voice, and for many different ensembles. Some of these warks have been recorded on his albums New Choras of Brazil (Acoustic Music Recor), Felicdade (GSP), and Afro-Sambs (GSP), with vocalist Ménica Selmaso featuring Paulo's arrangements of the complete fafro-sambas by composers Baden Powell and Vinicius de Moraes. He has won numerous awards, including the Guitar Player magazine poll as one of the top 10 Brazilian guitars, the 1904 Prémio Sharp awerds (Brazilian Grammy) a best arranger for Gal Costa's CD 0 Svrriso do Gato de Alice. He also received the Prémio Sharp nomination as best soloist for his albume Serenata (GSP), and Lire Brasileira (GSP), His Garcto Slbum received a 5-star rating from CD Review, and the album Guitares du Brésil (GHA) received “Le Choc de La Musique”, the highest award from the prestigious Le Monde de le Musique in Franee. In 1988, Paulo Bellinati won the first prize in composition for his solo guitar piece “Jongo”, at the Sth Carrefour Mondial de la Guitare in Mertinique. In 1995, John Williams & Timothy Kain recorded "Jongo” (guitar duet version) for their album The Mantis aad the Moon. Tn 1998 Paulo Bellinati recorded the Brazilian Guitar Virtuoso DVD for Mel Bay Publications, performing and discussing his compositions, In 2008 Mel Bay released the Paulo Bellinati Plays Antonio Carlo Jobim DVD, which includes Paulo’ arrangements of some ofthe masterpieces by the great Brazilian compeser Antonio Carlos Jobim. His most important recent projects include this volume of folios Anfonto Carles Jobim for Class publication of his piece “Lun-Duo” (GSP) for two guitars, the release of his solo album A Felicidade (CSP-2008) Brasil group recording, 2005 (Biscoito Fina), and the Ménica Salmaso/Pau Brasil recording Noites de Gala, Sartba Na Rus (Biscoito Fino-2007),NOTATION ° Fingerprint barre Estrida Branca © gdh jn afte tg io on Resta paste ier nS ee Rania Giemdnaseaneeer se ENCES RA hats testa payog Epstein Ss aes aes Sane Crossing bere ‘he Istfinger in acuved postion, presses anote on a bass tring and sole en the pt oraceme sine a et aes costes inthe ramp te Ts finger plays an & with the Sed in ho se Sowoe tothe pals) and’ 3D spar wth te Bingen, os (CV) Barrd dn parenthesis (a) {Use for beter mechanical slutons, nthe cuample all barton the Sa ft pee the teble stringy ard allows eprecae move te he ext messi Bor in parenthesis (8) Allpwethe et tand Ginger themanimum teh ivecamnei he a hagerplige be ht sng ane bed Piston The fngertayesenpht sc ina al ere poston Eero drgentpitpuntig ney from te fingtooed 2 Tantora 4 sdizonal orcas atc prnducad by hing these of thorght hand Uuab agente srngs lose to be bdge Inthecrample dhe Major nl shoula rng desty by SHLg only Sebass stngs ta rh Left hand onty [right hand ony {Le Hummeren the note using ony the leftard ager vr Tape nate using oly the nphthan fnge In theoample the notes ateplaved onthe 2nd tang Eagar # summers cn the C shang ane theigh-hsnd inden ager tape the D chap bar Natucal and artfiielaronics ‘Thedliemond-shaped notcheads (harmoric) ar t sca pitch concert, ‘Normal netcheads scurd.an qcave ower tan non ‘asexanple is acembinaton of hamonics and roerel sounds “heft beat ea chord wah Ans sag soe nated harmony (onthe tctotinge th frt and Don the Sed tang 7 ed Solon Scuclody i a8eal harmonies, ft Gtissando slur Indigtd bv ie or/and themoteade Wy Fe Ee gd: ee ‘The finger number appeais ony onthe rst note andthe PF toys. Second note ent pled hy the ngat hand ‘Theesample how! descending lesan su with he It ings Glissando ofexpression Indeatec by ane between the afecte notes with Singer numbers [both Outs naturally 3 changeat postion Hee txond fe mute pled y the ight Sand mwa ‘The example hows ten non nmcnd by 2 gis epresion* Estrada Branca ‘Arranged by Paulo Rellinat for solo guitar Antonio Carlos Jobim 1927-1994) WT ee 989,106,172 tare area nova copyght Crovedo Nuc Corp a YM Ener. [AI Bights Rasarod Use ny Prison.har, ——— 2 XI VI xi ohae ~ B XI Vn xi anifcial har. XX” XVE ‘otto rat ‘# The erica! C sharp harmonic is played wile the frst Ginger ofthe Fell Manel presses ie F sharp cn the second fetof the fst sting.rr Bate-Boca Antonio Carlos Jobim (1927-1934) © 1998 artenio Cares Jobim. —f Al Fighs Reserves, Uses by Permissioncut @ av aad. Ts ‘ aba y habe g 1 te cu feu el, fan ooo wctebee lose tebe — ——— 5 ro m® ie7 -g— +} =e ; rte eS Cf ral. sempre DS. al Coda cull 2 foreLuiza Arranged by Paulo Bellinats forsolo guitar Antonio Carles Joti Js08 mero «em ex, har, (1927-1994) 4.V0 XU V0 aD Tt Lheheo © 1687 Anion Carlos Jobim, [Ai Fights Reserve Usew by Permission,18 a tempo em ——___ cy —— wv 4% Insome recordings Jobim plays 2 G satura one half-sep higher than the site F sha.ad foitum artificial bar XIX =-== XXY_XX XIX a-— @ XIV XX cL tambora SQ @————— Por Toda a Minha Vida for solo guitar 20 ‘Arranged by Paulo Bellineti Antonio Carlos Jobim. (1927-1984) J=70 Recitative “Tp rese. poco a poco ral (© 1958 Esitora Arapery, cenewalcopyigh! Cocovaco Musi Corp. end VM Enleroses. [Al Bighis Rasorves. Us0d by Perms,a aterm: py atte so -@ @ = ie ee to ee f y22 Antigua “Arranged by Paulo Bellinati for solo guitar Antonio Carlos Jobim (0927-1994) J=70. Tempo de Bossa (© 1967, 1966 Antena Caras sob ‘Al Righis Rasorved, Used by Permissionevi cv evi evn: Chora Coracéo Arranged by Paulo Bellineti for solo guitar Antonio Carles Jobim (4827-1994) © 1679 Anionic Gatos Jobim. = Au Figs Reserved. Usacoy Permission.Recitativo FX meno mossoir artificial har, hs atompo AN XY XW RV pimesso © 1 — ‘Garoto * Arranged by Paulo Bellinat (Choro) for solo guitar Antonio Carlos Jobim (1927-1908 J=72 preciso (© 1970 Antena Carlos Jeb [Al Righs Record, Used by Permission.evi—cm—— et cu encantabie i = fe 7“ Valsa do Porto das Caixas Arranged b Paulo Bellina for solo guitar Antonio Carles Jobim (0927-1994) J=90 Misteriosoe legato cyt ° cv cull ® 8 ied gi 28 oP © 125 canene Msi, enna copy Corcvado Mac Corn Sr Spann Parsee° 2p ye iy fine aa 4 el ; a a a: “pny el) i. > CVIL a —~ = b oe oJ Oe PiVF %e ‘¢ Treanitela! A and D Yamoutes ae played while ds Jf-hand fist finger (barr) presies the D nt string) and tre G (Ist stn).artificial ha. 2 5 XM xx oxxt @ @ .* A Felicidade Arranged by Paulo Belinats for solo guitar Antonio Carlos Jobim (0927-1994) J=H0 Andantino espressivo oxtL cx ———__— evar «om a geded! 2.2 man (© 1858 Les Nowvelibs, rerewal copyigt Corcovado Music Corp. AL gts Reserved Used by Permission. ee— evil evi eu el1 ——______qvevi en ef — —_______ avImprovisando. Surfboard Tempo de Bossa 4287 precisosempre preciso 46 cm a_o—_heF Y = =e 5 a_t- a oH: sedis eer a "pet ae nf47 — ha GE EE re Sie ies PoP oy wr a)em wm 3 . — > = 2 pep tstep pipe otis t Bere Z g 54s 7 5% § 7 ¢ + 2 | 7 , , Dm ' | nf _—