Arranged for Solo Bb Brass & Piano "Garota de Ipanema" ("The Girl from Ipanema") is a Brazilian bossa nova and jazz song. It was a worldwide hit in the mid-1960s and won a Grammy for Record of the Year in 1965. It was written in 1962, with music by Ant�nio Carlos Jobim and Portuguese lyrics by Vin�cius de Moraes. English lyrics were written later by Norman Gimbel.

The first commercial recording was in 1962, by Pery Ribeiro. The Stan Getz recording featuring the vocal debut of Astrud Gilberto became an international hit. This version had been shortened from the version on the album Getz/Gilberto (recorded in March 1963, released in March 1964) which had also included the Portuguese lyrics sung by Astrud's then husband Jo�o Gilberto. In the US, the single peaked at number five on the Billboard Hot 100, and went to number one for two weeks on the Easy Listening chart. Overseas it peaked at number 29 in the United Kingdom, and charted highly throughout the world.

Numerous recordings have been used in films, sometimes as an elevator music clich�. It is believed to be the second most recorded pop song in history, after "Yesterday" by The Beatles. The song was inducted into the Latin Grammy Hall of Fame in 2001. In 2004, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2009, the song was voted by the Brazilian edition of Rolling Stone as the 27th greatest Brazilian song.

Ipanema is a fashionable seaside neighborhood located in the southern region of the city of Rio de Janeiro.


Hel� Pinheiro, the woman who inspired the song, in 2006.
The song was composed for a musical comedy titled Dirig�vel (Blimp), then a work-in-progress of Vinicius de Moraes. The original title was "Menina que Passa" ("The Girl Who Passes By"); the first verse was different. Jobim composed the melody on his piano in his new house in Rua Bar�o da Torre, in Ipanema. In turn, Moraes had written the lyrics in Petr�polis, near Rio de Janeiro, as he had done with "Chega de Saudade" ("No More Blues") six years earlier.

During a recording session in New York with Jo�o Gilberto, Antonio Carlos Jobim and Stan Getz, the idea of cutting an English-language version came up. Norman Gimbel wrote the English lyrics. Jo�o's wife, Astrud Gilberto, was the only one of the Brazilians who could speak English well and was chosen to sing. Her voice, without trained singer mannerisms, proved a perfect fit for the song. Ethel Ennis and Nat King Cole have also both recorded the song.

The song was inspired by Helo�sa Eneida Menezes Paes Pinto (now known as Hel� Pinheiro), a seventeen-year-old girl living on Montenegro Street in Ipanema. Daily, she would stroll past the Veloso bar-caf�, not just to the beach ("each day when she walks to the sea"), but in the everyday course of her life. She would sometimes enter the bar to buy cigarettes for her mother and leave to the sound of wolf-whistles. In the winter of 1962, the composers saw the girl pass by the bar. Since the song became popular, she has become a celebrity.

In Revela��o: a verdadeira Gar�ta de Ipanema ("Revealed: The Real Girl from Ipanema") Moraes wrote that she was "the paradigm of the young Carioca: a golden teenage girl, a mixture of flower and mermaid, full of light and grace, the sight of whom is also sad, in that she carries with her, on her route to the sea, the feeling of youth that fades, of the beauty that is not ours alone?it is a gift of life in its beautiful and melancholic constant ebb and flow."

Ella Fitzgerald recorded this song on her two-disc set of Brazilian music Ella Abraca Jobim, released on the label [[Pablo today}] in 1981.

The legacy of "The Girl from Ipanema" was acknowledged by multiple aspects of the 2016 Summer Olympics and Paralympics held in Rio de Janeiro: the Olympic and Paralympic mascots were respectively named Vinicius and Tom after the song's co-writers by a public vote, while the Olympics' opening ceremony featured a segment themed around the song and the architecture of Oscar Niemeyer. Jobim's grandson Daniel performed the song during the segment, which also featured an appearance by Brazilian supermodel Gisele B�ndchen. Spotify reported that the song had been streamed on its service 40,000 times per-day in the days following the ceremony (a 1200% increase), while in the U.S., the song reached #5 on Billboard's World Digital Songs chart the following week.

Ramifications represents a further development of my method of composition with complex musical net-formations. it is, as it were, a terminus in the development from dense and static to broken-up and mobile. The title refers to the polyphonic technique of the part-writing. in one skein, individual parts that are twisted together move in divergent directions so that the strand of the voice gradually become disentangled. The total form is made up of the alternation of ramification and unification of the parts and of the rents or bunching together of the net-formation that ensues from this. And as well as that, there are in this piece new aspects of a micro-tonal harmony. Even earlier I was occasionally working with deviations from the equal temperament (Requiem, Volumina, Harmonies, Second String Quartet). But what is new here is the consistent application of an idea of hyperchromatic harmony. This is made possible by one half of the string instruments being tuned a quarter-tone higher than the others. From the automatically ensuing differences in intonation when the instruments are played, arises a fluctuation in pitch such that one can hardly ever hear exact quarter-tone intervals. In only a few dense places approximative quarter-tone clusters result. apart from that we find a totally new kind of uncertain harmony, as though the harmonies had rotted: thex have a strong taste and decay has permeated the music.
- Gyorgy Ligeti.

As a student 40 years ago I wrote a thesis about all existing cello methods. Then I started writing my own method by putting all positive aspects of all methods together and revised the volume multiple times.
The music selection is the best I could find for each level progressing in tiny well prepared steps, enjoyable to play. Exercises compact and only when needed.
Volume 1 contains No 1-50 on 57 pages - first position, bow and reading skills, each piece in form of a cello duo to be able to play with a friend or teacher together - includes traditional songs, fiddle tunes and compositions by Beethoven, Bach, Purcell, Sor, Carcassi, Gretchaninov, Gruber and Neidhardt.
Probably the most researched and tested way to start learning the cello!
To each number are Video cello lessons linked published on Patreon. The links click through when viewed on phone, tablet or computer.
There are also Youtube recordings of all pieces as Cello Duos with fingerings and bowings as in the Cello Method, see https://www.youtube.com/playlist?list=PLa4x_CVYDVRXAnJJ_6HeRujngwTZ8cMEd