I'm not sure, Kirk, but I think I'd try a yellow, a deep yellow, a green, a deep green, an orange, and a deep orange to see what actually separated tones best for a subject like that. And bracket the heck out of all of them to find what works best. Once you get used to the spectral sensitivities of the camera and how the sensor interacts with different filters, it becomes easier to make a guess and get there.
This same problem was always there for me with B&W films as well. Getting a color -> B&W tonal translation when you're talking about very subtle shades of greens, or any other color, really, is not easy. I see no reason for the MM246 to do much better than the MM9 in this regard. It might be slightly different, but better implies a lot more.
Another tactic is to use a color camera to do a test capture, figure out the exposure and filtering required to get the separation you're looking for, and then replicate that through optical filters on the MM9 or MM246.