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Anyone have the changes or a lead sheet for Freddie Hubbard's, Povo?

It is a pretty obscure tune (as far as Fake books are concerned). I have many Fake
Books but no POVO. Seventh String lists it as a tune in Pocket Changes and The World's Greatest Fake Book..... 2 of the Fake books I don't own.

Xraydog
 

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Try this...
ll: Cm7 (4 bars) - Ab7 (2 bars) - Cm7 (2 bars) - BMaj7(b5) (1 bar) - AMaj7(b5) (1 bar) - Cm7 (2 bars) :ll

The one in "The World's Greatest Fakebook" is different than the progression above, but the one I posted sounds closer to the Freddie Hubbard version I just listened to on youtube.
 

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I joined saxonweb in response to this question

I strongly urge you to LISTEN to POVO to the point that you actually hear the changes. This is no easy song; I had been asked to learn this tune; and was told ( WRONGLY ) that this is a simple song.

That is Ron Carter on bass, listen to him as a cue. Since I am relatively new to this tune- I mean analyzing it - I actually am a little confused about a few spots where it SEEMS(0_0) like there are some harmonic conflicts between bass and chords. I need to do a lot more of what I am recommending to you... and likely others. The chords as suggested by the poster above are not entirely correct. One thing the best musicians are, is accurate in their approach to music.
 

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The chords as suggested by the poster above are not entirely correct. One thing the best musicians are, is accurate in their approach to music.
Please post the "entirely correct" changes for the sake of comparison. I'm sure we would all appreciate it.

Thanks
 

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Please post the "entirely correct" changes for the sake of comparison. I'm sure we would all appreciate it.

Thanks
I don't know them all. Just by listening I can tell there are differences with the "easy" chords posted.
My point was it is best to hear it yourself. I am not being a jerk, just trying to remind us all of basics.
I will continue to listen to it. Unfortunately I have to listen to a lot of music I don't care for to make a living. But if I can find time and motivation I will post my findings. In the mean time, please listen to the arrangement.
 

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I don't know them all. Just by listening I can tell there are differences with the "easy" chords posted.
My point was it is best to hear it yourself. I am not being a jerk, just trying to remind us all of basics.
I will continue to listen to it. Unfortunately I have to listen to a lot of music I don't care for to make a living. But if I can find time and motivation I will post my findings. In the mean time, please listen to the arrangement.
I hear what you're saying, and I did get it the first time. Most of it I agree with. I'll just take a second to you remind you that I was just trying to help the OP out because he had been looking for it in fake books and couldn't find it. What I posted came from a fake book...not from my own evaluation of the original progression. The only evaluation I made was that the progression I posted from one fake book "sounds closer" to the original than the one from one of the other fakes books the OP first mentioned. The only part of your first response that I think really misses the point is this...

One thing the best musicians are, is accurate in their approach to music.
In my opinion...the best musicians rarely play the same tune the exact same way every time, and that includes taking liberties with chord progressions. Most of the "Real Books" and all other fake books take frequent liberties with chord progressions...as do many of the Aebersold play-along arrangements...whether deliberately or by mistake...but they do provide a more than adequate starting place for people to learn, play, and enjoy these tunes for themselves. If the OP had the ability to "hear it" accurately for himself, he wouldn't have asked for help finding the progression...(or as in the case of the one I offered...one that is close enough to start working with for now). I'm not saying that any of your points are invalid...only that when it comes to music, accuracy has its place in many ways, but strictly adhering to an "entirely correct" chord progression takes away part of the creative license that has become such a large part of jazz itself. If on the other hand, the OP had been assigned the task of transcribing the original progression accurately for a grade in a college level jazz course...the progression I posted could very well have earned him a failing grade. I don't know because I didn't have the time or the pressing need to transcribe it accurately for myself. All I know is that if a band was on the stage and someone requested to hear the tune POVO...they could use that progression and all but the most extremely critical people in the audience would enjoy it...and the majority would never know the difference.
 

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I have just been writing an arrangement of the Tom Browne version for my band. I have struggled with the chords and horn parts. The Bbmaj7 and Abmaj7 chords sound more like #11's than b5's to me. It has been a real struggle to find the harmony horn part on those chords. The lead line is easy - Bb Bb Bb Ab Bb Db Eb, - C Bb G F Eb Bb C. The best I can find for the other part is F F F Eb F Ab Bb, - G F D C Bb F G. ie, all 4ths below the lead line! Consecutive open 4ths breaks one of the golden rules of writing horn arrangements, so I am naturally hesitant about this!

I will be fascinated to know the thoughts of forum members about the chords and sax harmonies, and hope you don't mind a bass player lurking around in here.

Cheers, Tom
 
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