Chega De Saudade

One of the more endearing members of Antonio Carlos Jobim's legendary song catalog, Chega de Saudade manages to combine an arresting melody with a complex and intricate song structure in the most delightful ways imaginable. This arrangement by the venerable Rob McConnell manages to not just do justice to the original tune's beauty, but even add some uniquely intriguing elements to the mix. Right off the bat, the horns play a mysterious quasi-chrorale featuring some ominously moody harmonic content. This wraps around a sinuous line handled by the low register instruments. Combined, the uneasiness provides a wonderful sense of anticipation for what's to come. The rhythm section breaks into a fast samba at measure 20 that doesn't let up for the rest of the performance before the melody proper enters 8 measures later. Handled by alto and tenor sax and flugelhorn, the melody during the tune's minor key section is accompanied mostly by some simple counterpoint in the low brass and reeds. The ensemble harmony eventually thickens up at measure 60, where a lead of flugelhorn and clarinet is supported by some lush textures in the lower voices. The volume and intensity reaches an early peak at measure 96, where the horns provide a quick sendoff into a two chorus guitar solo beginning at measure 104. The backgrounds are played on the second chorus, and are fairly unobtrusive. Another sendoff occurs following the guitar solo that features generally less volume but a noticeably more complicated line in the trumpets and trombones. This sendoff sets up an almost-full chorus of flute solo beginning at measure 188. Although the backgrounds in the brass are a bit rangey at the end, remind your ensemble to do their best to not overwhelm the soloist. This is followed by a 16 bar drum solo at measure 240 that is punctuated by some sharp ensemble jabs. The ensemble shout chorus begins at measure 256 at an unassuming volume level, but it doesn't take long for the intensity to ramp up. A knotty sax line sets up a roaring brass blast at measure 272, with the intensity not letting up until the shift to major at measure 288. The melody at this point is played identically to how it was at the beginning of the arrangement...with the exception of being transposed up a whole step, so be ready for some tricky fingering passages. The ending is tagged a few times before experiencing a rapid swell in volume and intensity for the final dissonant ensemble blast. This publication is not a transcription: it was prepared from Rob McConnell's original pencil score and the set of parts used during the recording session. Alternate parts for the two horns in F have been provided if your ensemble does not have access to horn players.