In part 2, we are going to enhance the melody and add some rhythmic devices into our left hand to introduce the Bossa Nova feel and groove.
‘How Insensitive’ is a well-known tune written by Antonio Jobim who was one of the main exponents of the Bossa Nova movement in 1950s Brazil.
In this lesson we explore some advanced applications of upper structure triads in context of jazz standards we have covered.
This is part 2 of the tutorial on dominant chord voicings. Here we explore voicing options for the natural 4th, #11, 5th, #5, 13th and the b7.
This is part 2 of the tutorial on dominant chord voicings. Here we explore voicing options for the natural 4th, #11, 5th, #5, 13th and the b7.
In Part 3 we will add ornamentation to the melody, creating much more melodic interest and a nice climax towards the end of the tune.
A very important point is that it’s not absolutely necessary to play all of these elements concurrently throughout the performance.
When starting out playing Bossa Nova standards, it’s a good idea to separate and isolate the different elements that make up a Bossa Nova groove.
251s feature heavily in Bossa Nova music and it’s a good idea to learn to play major and minor 251 progressions with a Bossa Nova groove.
In terms of harmonic structure, Bossa Nova has a lot common with jazz music as both share a sophisticated use of seventh and extended chords.
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