••

•• I
••
•• Notes on Partido Alto (Track 34):

• The ago-go part is played by the drums (the composite rhythm of the ki_ck and snare) and

••
the electric bass .
• A variation of the pandeiro accent pattern is played on the congas.
• Notice the two different camping patterns in the guitar: the first plays the ago-go part,

•• while the second is an all-off beat pattern.

••
••
••
•• Bossa Nova
Basic instrumentation:

•• • One or more guitars: nylon string guitars and/ or electric guitars (a single nylon string
guitar is more common in older styles of Bossa Nova; in jazz-influenced Bossa Nova, it's
most common to find a single guitar-either electric or acoustic-in the rhythm section) .
•• • Electric bass or acoustic bass (in more jazz- or acoustic-oriented Bossa Nova).
• Piano or electric piano .

•• • Drumset.
• Hand percussion: since Bossa Nova often has a light, cool feel; percussion is used sparingly.
Shaker is most common, though pandeiro and I or tamborim are sometimes used.

•• • Vocals .
Harmony: The harmonic language of Bossa Nova is similar to standard jazz harmony, but

•• is arguably more nuanced and subtle. Chromatic and non-diatonic chords frequently occur,
but-as in samba-always function strongly within the prevailing key. Diatonic chords are
usually 7th chords, often with tensions. Altered tensions on dominant and secondary dominant

•• chords are frequently used. Secondary dominant chord functions, including diminished 7th
chords and minor 6th chords (bVI-6 functioning as V7 (b9) in particular), are common, as are
chords borrowed from the parallel minor key (modal interchange chords) .

I
• Melody: Like samba, most Bossa Nova songs are written with a vocal melody (though
they may often be played instrumentally) and so melodies are often strongly diatonic. (The
I exception that proves the rule is Jobim's "Desafinado" in which the chromaticism of the
melody enhances and supports the meaning of the lyric.) The use of chromatic notes in the
I melody most often occurs against modal interchange chords or during brief modulations.
I
Meter: Bossa Nova is traditionally felt and written in 2, though many musicians-particularly
I inN orthAmerica and Europe-play Bossa Nova with more of a 4 feel. Early in its development,
I the most common meter used in Bossa Nova was 2 I 4. Currently, Bossa Nova is written in 2 I 4
or 4/4. Occasionally, 2/2 meter is used.
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I 7 • brazilian
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Key rhythms: Bossa Nova is a form of samba and so-like samba-its key rhythms also come
from the batucada. Joao Gilberto distilled the batucada into a form playable entirely on the
''
I
guitar: the Bossa Nova groove comes from this guitar style. In his style, the guitar provides
the bassline and chords.
''
••
••
@

The bassline, played by the thumb of the right hand, is a version of the low surdo that de-
•
@
@
emphasizes the accent on beat 2, making beats 1 and 2 equal. (This was part of the general
"cool" quality of Bossa Nova.) He distilled the syncopations and accents (the "fork" rhythms) ~
of the batucada into a comping rhythm, played by the fingers of the right hand. The comping ~
rhythm of the guitar is a recurring pattern, usually one or two measures long, in which each
chord has a duration of either two or three subdivisions of the pulse. In 2/4, for example, each ~

•
...
chord has a duration of either two or three sixteenth-notes. In the absence of guitar, the piano
can play these comping rhythms. Here are some typical comping rhythms.
1!!!1

•
One-bar comping patterns

1 4~~ r· r- -u· ......

Two-bar comping patterns

.
r.____...r. ~ ......
It (~
~

r ( ......
....
The drumset plays a simplified version of the batucada, supplying parts not explicitly stated
in the guitar part. In early versions of Bossa Nova, in which the drumset was often absent, the
tamborim, woodblock or clave played what became the cross-stick part (see the Bossa Nova
....
grooves on the next page).

......
Essential Grooves ..
.,
..•..
.... TRACK 35
I
Bossa Nova #1

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•• • illotll.£

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•• . . . .
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••
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•• Dr .
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•
•• 5 6 7 8

7 • brazilian
 Notes on Bossa Nova 1 (Track 35):

• Though this trackis notated in 4/4, it is felt in 2. ~

• Notice the guitar part in the first four measures. The guitar plays two one-bar patterns,
then a two-bar pattern. Compare this to the guitar camping pattern in measures S-8.
• The bass part plays the "Bossa Nova surdo," a distlled version of the low surdo part with
a long notes on beat 1 and an unaccented note on beat 3. When playing with the bass, the
guitarist usually does not double the bassline.
• Notice how the piano partis smooth and legato, contrasting the rhythmic quality of the
guitar part.

Notes on Bossa Nova 2 (Track 36):

~
• Though this track is notated in 4/4, it is felt in 2.
• On this track, the guitar plays a simple one-bar camping pattern. ~
•
•
The bass plays long, legato notes, without the eighth-note pickup to beats 1 or3.
The drummer plays brushes, giving the track the light, gentle feel typical of Bossa Nova. •
•'
•'
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••
••
••
Essential Grooves
••