This thread is the place to share and discover the joyful sound of Bossa Nova, Samba, and all other styles of Brazilian music.
Stan Getz & Joao Gilberto - Getz/Gilberto (1963)
- Girl From Ipanema
- Para Machuchar Meu Coracao
- Corcovado (Quiet Nights Of Quiet Stars)
- So Danco Samba
- O Grande Amor
- Vivo Soñando (Dreamer)
pretty much anytime Elaine Elias plays and sings bossa nova - i love it.
Corcovado - a famous latin number written by the great Antônio Carlos Jobim in 1960.
"Quiet nights of quiet stars, quiet chords from my guitar, floating on the silence that surrounds us… "
Beautiful! I could listen to that all night.
Yes the harmonies and melody are wonderful!
The tune is also played as a ballad but i much prefer the bossa feel.
Here’s the score:
Estate.pdf (109.2 KB)
Another lovely recording of Estate… I think all of the solos are superb:
Chet Baker - TRUMPET
Nicola Stilo - FLUTE
Diane Varvara - S. SAXOPHONE
Michel Grailler - PIANO
Riccardo Dal Fra - BASS
Leo Mitchel - DRUMS
ahhhhhhhhhhhhhhhhh, so subtle and full of emotion. really look forward to this lesson
Yes it’s a wonderful tune!
Thank you for the pdf of this. It’s an example that little goes a long way!
A nice Brazilian style I used to listen to was Michael Franks - “Down in Brazil” (this one is speeded up tho?) and “Lady wants to know” were real popular back in the 70’s:slight_smile:
Any version of Agua De Beber:
Marcos Valle has to be one of my Bossa/Latin heroes, from any era of his output. This in English was ‘Crickets Sing for Anamaria’ - I love this more recent version of his:
Lovely! Funny, I was listening to Astrud last night after doing some recording with Matt.
Nice intro chords, reminds me of a funk progression I like to play around with… I’ve just made a little demo for you. Basically a minor 251 in D, but using a G-7 instead of the E-7b5.
Then also playing passing chords here and there, such as A-7, and a Bb13b9 as a passing chord into the A7 one time through the progression.
I also do a chromatic minor 9th thing which is move of a house music kinda sound.
Finally, I went to town with sus chords, they certainly add a punch! You can play them in virtually any order and they sound great, obviously with a point of resolution in mind. Major 7th a half step below the root for that rich sus13 sound
Also like the flute sections. There’s an awesome jazz flutist in Seattle called Bernie Jacobs: http://www.berniejacobsmusic.com/ - he sometimes hosts the Monday night jam at Capitol Cider in Capitol Hill - one of the best jams in Seattle if you’re ever there on a Monday.
Vimeo’s standard embed has a slow down control now… click the cog icon in the bottom right hand side.
That’s awesome Hayden - thanks for adding that! Jazz-funk style is basically my thing, and some Latin influences are also good. Taken literally, I guess it’s taking (and adapting) the jazz harmony approach and using funk rhythms, emphasizing the 1, using passing chords etc - a funk tutorial or 2 would be amazing if you ever had plans to include in the future. This is great - I’m going to slow this video down and digest it
My pleasure James - hope you find it useful.
Funny actually, my first jazz teacher was a funk player. Really great teacher and did a great job at teaching me jazz harmony.
I was having a conversation with a student who is more interested in pop music and wondered if he is wasting his time learning jazz. But the thing is, players in modern genres will generally have studied jazz harmony at some point in the lives.
It’s the trickiest to learn, but no matter what genre you are playing, having a knowledge of jazz harmony will always be an asset and will give you a deeper insight into music.
Here’s another nice progression:
A-9 / Fmaj9 / E7#5#9 …which then takes you back to the A Minor.
The voicings I use:
LH: Root(A) and 5th(E)
RH: 9th(B), -3rd( C), 5th(E) and 7th(G) …that rub between the 9 and 3 is nice in this voicing
LH: Root(F) and 5th( C)
RH: 3rd(A), 5th( C), 7th(E) and 9th(G) …notice all that has changed in the right hand is the bottom note has dropped down by a full step… B drops to A.
LH: just the root E
RH: 3rd (G#), #5 ( C), b7 (D), #9(G)
Notice that the G stays on top throughout the progression. Also the A-9 gets twice the length of the other 2 chords:
A-9 / A-9 / Fmaj9 / E7#5#9 and then back to the start.
I transcribed that progression from this record years ago. I also love the piano solo, lots of repetitive 4th and 5th intervals in the right hand which give it that really funky sound:
Yes I envisage PianoGroove to encompass Jazz, Blues, Funk, Latin & Gospel.
I’m more into the ‘straight ahead’ jazz, but this year certainly looking to bring a funk player onboard.
Thanks again Hayden - your time in replying back is much appreciated. I guess it’s to do with what someone would be looking to gain by learning jazz harmony. For me, I know that it’s an element I want to incorporate in what I produce - where that then takes me is something I’m open-minded about. I’m clear that the influences that most resonate with me include jazz to some extent, but also that my goal in learning is to become so much more familiar with jazz so that I can use it as an ingredient, if you like. In that sense I’m probably going to gain more by applying them to my own efforts at transcribing and - as I progress - to re harmonizing the tunes I love.
It’s great that you envisage PianoGroove encompassing all these things - and only as I learn more that I appreciate how jazz really was the big daddy of them all!