Origin:

First recorded on the João Gilberto album O Amor, o Sorriso e a Flor.

Style:

Bossa Nova.

Form:

A-B1-A-B2 (34 Bars) [8-8-8-10]

Arrangements:

B2 is sometimes 12 bars long; resolving to the tonic momentarily before returning to the top of the form.

Key:

Most often played in C Major.

Harmony/Overview:

The  harmony of this composition is mainly functional. In the key of C lead  sheets will often include D7/A as the first chord, although it is more  commonly approached as simply Ami6 (VImi6). It is then followed by  bVIdim7 before a II - V resolves to the tonic. During the head, an  auxiliary diminished chord is often used here to delay this resolution  (Idim7 - IMaj7). B1 begins with a II - V of bIII which deceptively  resolves to IIImi7 - VI7. The section then ends with a momentary stay on  II7 before a final bVIdim7. B2 begins identically to the first B  section, although it continues on by including a brief tag; adding an  additional 2 bars to the form. The tune is most often treated as a 34  bar form by resolving the final II - V at the top of the following  chorus, although it is also sometimes approached as 36 bars by resolving  to the tonic for 2 bars before restarting the form once again.

Recordings:

This  song has been recorded over 580 times to date and it is one of Jobim's  many contributions to the standard repertoire. It was first introduced  on João Gilberto's 1960 album O Amor, o Sorriso e a Flor in 1960. Gene Lees would soon after add English lyrics to the tune, and  it has been a massive success amongst American and Brazilian audiences  ever since. Many legendary jazz musicians have recorded the tune over  the years with many seminal recordings having been left behind.

JGC Top Picks:

Miles Davis & Gil Evans, Quiet Nights, 1962

Stan Getz &  João Gilberto, Getz/Gilberto, 1963

The LA 4, Pavane Pour Une Infante Defunte, 1976