Intro To Bossa Nova Bossa Nova Bass Lines The bass lines in Bossa Nova are derived from the rhythms of the surdo, which is a bass drum found in Samba bands. Here is a common surdo rhythm: The next step is to take this rhythm and to create lines focusing on the root and 5 th of the chord. For Fmaj7 we would play the root – F – and the 5 th – C. You should be able to hear that this rhythm anticipates the down beat which is beat 3. Placing the eighth note on the & of 2 creates a lot of forward motion which is characteristic of the Bossa Nova style. Here is 2 variations of the baseline that you’ll hear in many Bossa recordings: Bossa Nova Voicings When playing Bossa Nova, we typically use rootless chord voicings. This is because we are already playing the root in our left hand and so the rootless voicing frees up a finger for a more interesting and colourful note choices such as an extension or alteration. In our left hand we are playing a Bossa Nova bassline the root and 5 th and in our right hand we can either play 3-5-7-9 or 7-9-3-5. Also remember to practice both
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IntroToBossaNovaBossaNovaBassLinesThebasslinesinBossaNovaarederivedfromtherhythmsofthesurdo,whichisabassdrumfoundinSambabands.Hereisacommonsurdorhythm:Thenextstepistotakethisrhythmandtocreatelinesfocusingontherootand5thofthechord.ForFmaj7wewouldplaytheroot–F–andthe5th–C.
Youshouldbeabletohearthatthisrhythmanticipatesthedownbeatwhichisbeat3.Placingtheeighthnoteonthe&of2createsalotofforwardmotionwhichischaracteristicoftheBossaNovastyle.Hereis2variationsofthebaselinethatyou’llhearinmanyBossarecordings:
BossaNovaVoicingsWhenplayingBossaNova,wetypicallyuserootlesschordvoicings.Thisisbecausewearealreadyplayingtherootinourlefthandandsotherootlessvoicingfreesupafingerforamoreinterestingandcolourfulnotechoicessuchasanextensionoralteration.InourlefthandweareplayingaBossaNovabasslinetherootand5thandinourrighthandwecaneitherplay3-5-7-9or7-9-3-5.Alsoremembertopracticeboth
AlsopracticeTypeBinversionsofthevoicing:
Wecandothesamewithmajorchords:
Nextlet’sinvertthechordintoTypeBandplaythesamerhythmandbassline:
ChangingChordswhenPlayingBossaNovaHerewehave2barsofC-7and2barsofF-7.
HerewehaveEbMajor&AbMajor:
BossaNova&TheMajor251ProgressionHere’sa251inCMajorplayedwithBossaNovaRhythm:
There’saveryimportantpointtonotehere.Inthe‘Introductiontobossanova’lesson,welearnttheBossaNovagrooveisarepeating2barphrase.Intheabove251progression,theIIchordchangestotheVchordhalfwaythroughthe2barphrase.WhenthechordchangesinthemiddleofatwobarBossaNovaphrase,wealwaysanticipatethe2ndchordon&of4.WecanseethatthelastchordinthefirstbarisnowG13whichisbeinganticipatedbyhalfabeat.Thisanticipationaddsasenseofforwardmotion.Let’salsodoTypeB:
BossaNova&TheMinor251Progression
There’safewimportantpointstonotehere.Thefirstisthatagainweanticipatethe2ndchordonthe&of4.Thesecondisthatinaminor251,the2chordisa-7b5andsothatmeansthatinourlefthandweplayRoottob5notnatural5.ThelastthingtonoticeisthatovertheG7Iplayedanalteredvoicinginmyrighthandcontainingtheb9andthe#5.Finallylet’slookatthesameminor251inTypeB:
TakethetimetopracticeBossaNovaRhythmaroundall12majorandminorkeys–bothtypeAandtypeB.Wewillofcourse,becoveringtheseprogressionsintheBossaNovajazzstandardlessons.
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