Thank a lot for your kind words and feedback, BOB and CyrilleB!

I agree with you CyrilleB, I also prefer a several-page chart of this song for performances! And as you say, to have a full one page version of the song is mostly useful for the play-along feature. When I have performed this song, I have made (and used) a three page hand-written chart which included some more useful details about bass notes, breaks and countermelodies, as this is quite important when using the same chart for a whole band for this song.

When I made the one page version, it was quite hard to fit the changed progression of the outro into one page (the Cb/Bb changed to a
Eb-6/Bb), so I had to simplify the changes a little bit in order to save some measures. The repeats in my one page version are more used as a measure-saving device rather than a description of the song form.

Sometimes writing a too detailed chord chart can take away from the improvisational freedom of the musicians though, but if one wants to play the song like it is played this recording, a detailed chord chart can be a good thing! Sometimes a chord chart that is an exact transcription of a song can be harder to follow during a performance than a simplified version with more room for improvisation. However, in this song, the song structure and chord progressions are so unpredictable that writing in the details doesn't hurt.

Yes, the E9 altered chord (which is a tritone substitution leading to the Ebmaj9), probably makes more sense as an E9b5 or E9#11 as flat fives (or sharp elevens) on tritone substitution chords are more common (especially in jazz) than sharp fives. In my old hand written chart, i wrote an E9b5. And other recordings of this song seem to use an E9b5 chord. However, in this particular recording, and to me, it sounds like a E9#5 is used in the first part of the song (with the breaks) and later in the song, it is changed to a b5 instead.

You are correct about the missing slash chords! And I also think I forgot to write the /Gb on the Eb-6 in the beginning.
I think your system of rehearsal marks is fantastic, CyrilleB! Great job on that, it really facilitates the understanding of the song form! And I think your two page-chart is great! It has a lot of space and is very easy to read! And you made very good observations of the different sus chords used in the song!

There are just two small details about your chart that I would suggest changing.
-The Eb minor maj7 (or maj9) chord is sometimes used almost like a suspension in the song, resolving to a minor 6 chord. This is not written in the chord changes, probably because it is more distinct in the piano than the guitar, and the first time it is played, it sounds more like a countermelody than a chord tone, but the second time it is played, is not used as a countermelody, it is part of the actual chord and the ninth is also resolved.
- The Ab chord in the ending of the whistle-section is not an Ab9#11, rather it is an Ab13 with the root voiced on top, before this chord, the Ab13:s have been voiced with the 9nth on top. Sometimes, the Eb-69 chords almost sound more like Ab13/Eb voiced with the 13 on top (the fifth in the bass) to me, the voicing used in the recording is more similar to the Ab13 than the the Eb-6. But Eb-69 is a more logical and understandable way to write the chord.

Other than that, I thought it was a great chart! Really nice that you wrote out the syncopations of the chord changes too, and included the ending!
Here's my revised version of your two page chart:

Aguas De Marco (Waters Of March) p1 (revised) - Antonio Carlos Jobim (Elis & Tom)



Aguas De Marco (Waters Of March) p2 (revised) - Antonio Carlos Jobim (Elis & Tom)