Exploring "Meditation" – A Harmonic Breakdown

Welcome to this in-depth exploration of the Brazilian jazz standard Meditation (Meditação), often attributed to Antônio Carlos Jobim but actually co-written by Newton Mendonça. In this lesson, we will dive into the harmonic structure of this beautiful tune, focusing on key voicings, chord substitutions, and the smooth voice leading techniques that define Brazilian jazz harmony.

By the end of this lesson, you will have a strong grasp of the song’s chord movement and how to interpret the changes in a way that enhances your playing, whether you’re accompanying a singer or playing a solo arrangement.

Understanding the Harmonic Approach in Meditation

One of the defining characteristics of Meditation is its use of non-chordal tones in the melody. Unlike many jazz standards that emphasize the root or fifth, this tune often avoids redundancy by focusing on extensions and passing tones. This creates a floating, ethereal quality that is a hallmark of Brazilian jazz.

We begin with an introduction not typically found in real books—this intro was written by Jobim and features a chromatic shift technique often used in his compositions. The movement between C#-7b5 to F7 and then to Bbmaj7 demonstrates Jobim’s signature voice-leading techniques.

Chromatic Movement and Inner Voice Leading

A crucial element of Brazilian harmony is the use of chromatic inner lines, sometimes referred to as thumb lines in guitar voicings. This technique allows for smooth transitions between chords, making the harmonic movement feel seamless rather than abrupt.

For example, a progression such as:

• C#-7b5 → F7 → Bbmaj7

Can be embellished with inner chromatic movements like:

• C#-7b5 → F7(#11) → Bbmaj7(9)

By adding subtle motion in the inner voices, we create a more sophisticated sound that remains easy to follow.

Key Voicings and Spread Harmonization

Throughout Meditation, we can apply different voicings to enhance the harmony. One essential voicing is the 6/9 chord, which is used frequently in Brazilian music. Instead of playing a plain G6 chord, try using a G6/9 voicing, which includes:

• Left Hand: G – D
• Right Hand: A – B – E

This shape avoids the third, giving it an open sound that blends well with the melody.

Another common harmonic technique in this tune is the use of diminished passing chords. A passage such as:

• Gmaj7 → G#dim7 → A-7 → D7

Adds richness to the harmonic framework. The diminished chord acts as a chromatic connector, linking the tonic chord (Gmaj7) to the ii-V-I progression that follows.

Building to the Climax: The B Section

In the B section of Meditation, we reach an emotional climax. Lyrically, this section describes sadness and loss, and the harmonic shift mirrors this. The melody rises dramatically, and the accompaniment should reflect this shift with a fuller sound.

A key transition happens with:

• C-6 → C-7 → F7 → Bbmaj7

Here, we move chromatically from a minor 6 chord to a minor 7 chord, creating a gentle build-up before resolving to Bbmaj7. To bring out the climax, use thicker voicings with more extensions, such as F13b9 instead of a simple F7.

Practicing Meditation Effectively

To fully integrate the harmonic concepts in Meditation, consider these practice tips:

1. Play the Chords as a Solo Pianist

• Work on voicing the chords while maintaining a steady rhythmic feel.
• Use rootless voicings when comping, keeping the melody clear.

2. Practice Inner Voice Movement

• Explore chromatic voice-leading by playing slow chord transitions.
• Try moving one or two notes within the chord while holding the bass note.

3. Experiment with Diminished Substitutions

• Replace dominant chords with diminished passing chords.
• Example: Instead of A7, try C#dim7 leading into D7.

4. Develop a Smooth Left-Hand Accompaniment

• Keep the left hand light and syncopated, emulating a Brazilian guitarist.
• Play rootless voicings to free up your right hand for the melody.

5. Analyze the Climax in the B Section

• Gradually increase dynamics as you move into the B section.
• Use a more dramatic left-hand motion, such as rolling octaves or arpeggios.

Conclusion

Meditation is a masterpiece of Brazilian jazz, blending rich harmony with a floating melody that evokes deep emotion. By mastering the chromatic movement, diminished passing chords, and Jobim’s signature voice-leading techniques, you’ll develop a more sophisticated approach to playing not just this song, but Brazilian jazz as a whole.

Keep exploring different voicings and phrasing techniques to make this tune your own. Happy practicing, and see you in the next lesson!