Theme From The Odd Couple   Neal Hefti Arranged for solo guitar and
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	E min7             A9                  A7                 C Maj7            E min (Harmonics G Maj7               G                D9               C                  A min7            D min11          D min11            G                A7                G 3b5             D Maj7            A min9            D13              	 A min7        D  @    e    	
 A min i   i  @ D7       2 @202jNotes:

To see the timing and chord diabram module, in TablEdit, go to the options on the File pulldown menu.  Then select Display, and put a check in Multitrack.  I suggest you check all three.

The Theme from the Odd Couple is probably one of the most popular and best known movie themes that transferred to the TV screen, like the Theme from MASH.   I arranged this tune 30 some years ago, and when I used to play it, folks always said "Oh, the Oscar and Felix tune!"  This is one tune that is guaranteed to bring a smiile to your audience.  An introduction to your audience such as "Who remembers Oscar the Grouch from Sesame Street?  Well, this is what happened when he grew up and took a roommate"  always brings bellylaughs when you start with the very familiar intro. 

What makes this tune especially interesting is how Neal Hefti used the same "inside" chords as the intro, but added other basses and melody notes.  Musicologist call this technique "exploitation", and it has been a tool of all great composers throughout the centuries.  Hefti arranged for the Count Basie orchestra and has many wellknown tunes, such as Cute and Li'l Darlin', but this tune probably is his best known work.

The chords have a very modern sound, but actually are simple, wellknown forms, that are using open string basses for the most part to get that sound.

The tune can be played with a Chet Atkins type of bass, but due to the speed of the tune, I think using a block chord, played "clipped" adds a little more interest. 

Measures 9 - 12:  Note these these measures are the same thing as measures 5 - 8, only up a fourth.  Measure 11 has a pretty long stretch that can be played several different ways, but to me this is the easiest to get into and out of.

Measure 13:  I show two separate chords for the last half of the measure, but actually it's just one chord.  The pinkie lies down to get the A note there.  That gives the 1st finger a chance to get into position for the barre on the 3rd fret at the start of the next measure.

Measure 14:  Finger this chord like this-  the 1st finger on the 4th string, the 2nd finger as a barre on the 3rd and 2nd string, and of course the 4th finger on the 1st string.  That has your hand in position for the B7+5 chord on the next beat.

Measure 45:  Note the last harmonic is an artificial harmonic.  It's not something to be afraind of as there's lots of tricks that make it simple.  The harmonic is made by noting the 1st string on the 5th fret.  With the I finger of the right hand lightly touch the 1st string above the 17th fret.  On a traditional classical guitar, this is 2 frets from the last one (most classical guitars have 19 frets).  The note is then plucked with the A finger of the right hand.  Some folks have developed the technique of using the C finger (the right pinkie).  Folks that play with a thumbpick may find that it's easier to use the P to pluck the note.  To my way of thinking, the End Result always justifies the means.  If you don't have a preference (like me), I'd suggest you use your A finger.

The rest of the tune is pretty simple to play, although it moves around quite a bit.    c          0w   %).38      Guitar  tandard G   c          1   %).38      Timing/Chords d G 
