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Blue Bossa Bass Line
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Bossa Nova bass lines are quite simple and are usually just on beats one and three of the bar. Harmonically the notes tend to be a root descending to a fifth below, almost like a country bass line. This bass line might sound simple by itself but provides a solid foundation when mixed with the more syncopated comping patterns. BLUE BOSSA - Emily Remler Page 3 of 4 Generated using the Power Tab Editor by Brad Larsen. 46 I T A B Dm7 ` 5 V 3 V P 4 e V. Once you feel comfortable with the chords, the next step is to add a bass line. Bossa Nova bass lines are quite simple and are usually just on beats one and three of the bar. Harmonically the notes tend to be a root descending to a fifth below, almost like a country bass line. The bossa nova patterns played on guitar are very typical and often combine chords with a bass line. Latin guitar is usually played on a nylon-string classical guitar and picked with the fingers. The chords and the bass line of the guitar have a specific rhythm that is derived from a drum part played in samba music (the tamborim ).

Bossa nova
Stylistic origins
Cultural origins	Late 1950s, South Zone of Rio de Janeiro, Brazil
Typical instruments
Derivative forms	Lounge
Subgenres
Other topics

Bossa nova rhythm^[1]

Bossa Nova Bass Lines Pdf Free Online

Bossa nova is a style of Brazilian music, which was developed and popularized in the 1950s and 1960s and is today one of the best-known Brazilian music styles abroad. The phrase bossa nova means literally 'new trend' or 'new wave' (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ](listen)).^[2] A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s, initially among young musicians and college students.^[3]

2Instruments
3Structure

Etymology[edit]

In Brazil, the word 'bossa' is old-fashioned slang for something that is done with particular charm, natural flair or innate ability. As early as 1932, Noel Rosa used the word in a samba:

'O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas.' ('Samba, readiness and other bossas are our things, are things from us.')

The exact origin of the term 'bossa nova' remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in Rio de Janeiro, the term 'bossa' was used to refer to any new 'trend' or 'fashionable wave'. In his book Bossa Nova, Brazilian author Ruy Castro asserts that 'bossa' was already in use in the 1950s by musicians as a word to characterize someone's knack for playing or singing idiosyncratically.^[4] Castro claims that the term 'bossa nova' might have first been used in public for a concert given in 1957 by the Grupo Universitário Hebraico do Brasil (Hebrew University Group of Brazil). The authorship of the term 'bossa nova' is attributed to the then-young journalist Moyses Fuks, who was promoting the event.^[5] That group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luiz Eça, Roberto Menescal, and others. Mr. Fuks's description, fully supported by most of the bossa nova members, simply read 'HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA' ('Today. Sylvia Telles and a 'Bossa Nova' group'), since Sylvia Telles was the most famous musician in the group at that time. In 1959, Nara Leão also participated in more than one embryonic display of bossa nova. These include the 1st Festival de Samba Session, conducted by the student union of Pontifícia Universidade Católica. This session was chaired by Carlos Diegues (later a prominent Cinema Novofilm director), a law student whom Leão ultimately married.^[6]

Instruments[edit]

Classical guitar[edit]

Bossa nova is most commonly performed on the nylon-string classical guitar, played with the fingers rather than with a pick. Its purest form could be considered unaccompanied guitar with vocals, as created, pioneered, and exemplified by João Gilberto. Even in larger, jazz-like arrangements for groups, there is almost always a guitar that plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers from a samba ensemble, specifically the tamborim, and applied it to the picking hand. According to Brazilian musician Paulo Bitencourt, João Gilberto, known for his eccentricity and obsessed by the idea of finding a new way of playing the guitar, often locked himself in the bathroom, where he played one and the same chord for many hours in a row.^[7]

Drums and percussion[edit]

As in samba, the surdo plays an ostinato figure on the downbeat of beat one, the 'ah' of beat one, the downbeat of beat two and the 'ah' of beat two. The clave pattern sounds very similar to the two-three or three-two son clave of Cuban styles such as mambo but is dissimilar in that the 'two' side of the clave is pushed by an eighth note. Also important in the percussion section for bossa nova is the cabasa, which plays a steady sixteenth-note pattern. These parts are easily adaptable to the drum set, which makes bossa nova a rather popular Brazilian style for drummers.

Structure[edit]

Certain other instrumentations and vocals are also part of the structure of bossa nova:

Bossa nova and samba[edit]

Basic bossa nova accompaniment pattern Play

Bossa nova has at its core a rhythm based on samba. Samba combines the rhythmic patterns and feel originating in former African slave communities. Samba's emphasis on the second beat carries through to bossa nova (to the degree that it is often notated in 2/4 time). However, unlike samba, bossa nova doesn't have dance steps to accompany it.^[8] When played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns usually contain a syncopation into the second measure. Overall, the rhythm has a 'swaying' feel rather than the 'swinging' feel of jazz. As bossa nova composer Carlos Lyra describes it in his song 'Influência do Jazz', the samba rhythm moves 'side to side' while jazz moves 'front to back'. Bossa nova was also influenced by the blues, but because the most famous bossa novas lack the 12-bar structure characteristic of classic blues, as well as the statement, repetition and rhyming resolution of lyrics typical of the genre, bossa nova's affinity with the blues often passes unnoticed.^[9]

Blue Bossa Bass Line

Vocals[edit]

Aside from the guitar style, João Gilberto's other innovation was the projection of the singing voice. Prior to bossa nova, Brazilian singers employed brassy, almost operatic styles. Now, the characteristic nasal vocal production of bossa nova is a peculiar trait of the caboclo folk tradition of northeastern Brazil.^[10]^[11]

Themes and lyrics[edit]

The lyrical themes found in bossa nova include women, love, longing, homesickness, nature. Bossa Nova was often apolitical. The musical lyrics of the late 1950s depicted the easy life of the middle to upper-class Brazilians, though the majority of the population was in the working class. However, in conjunction with political developments of the early 1960s (especially the 1964 military coup d'état), the popularity of bossa nova was eclipsed by Música popular brasileira, a musical genre that appeared around the mid-1960s, featuring lyrics that were more politically charged, referring explicitly to working class struggle.

Notable bossa nova recordings[edit]

Luiz Bonfá Plays and Sings Bossa Nova (recorded December, 1962)
Jazz Samba Encore! with Stan Getz (recorded February 8, 9 & 27, 1963)

Trombone Jazz Samba (recorded August 21 & 23, September 14, 1962)

Bossa Nova Bass Lines Pdf Free Free

Jazz Samba with Stan Getz (recorded February 13, 1962)
Latin Impressions (recorded April 18, 1962)
Bossa Nova Pelos Passaros (recorded April and October, 1962)
Once More! Charlie Byrd's Bossa Nova (recorded February 21 and April 4, 1963)
Brazilian Byrd (recorded 1965)
Brazilian Soul with Laurindo Almeida (recorded 1981)
Latin Odyssey with Laurindo Almeida (recorded 1983)
Latin Byrd (compilation, 1996)

Bossa Antigua with Jim Hall (recorded July 28-9, August 20, September 8, 1964)

Jazz Samba with Charlie Byrd (recorded February 13, 1962)
Big Band Bossa Nova (recorded August 27 & 28, 1962)
Jazz Samba Encore! with Luiz Bonfá (recorded February 8, 9 & 27, 1963)
Getz/Gilberto with João Gilberto (recorded March 18 & 19, 1963)
Getz/Gilberto #2 with João Gilberto (recorded October 9, 1964)
Getz Au Go Go with Astrud Gilberto (recorded May 22 and October 9, 1964)
The Best of Two Worlds with João Gilberto (recorded May 21, 1975)

Chega de Saudade (recorded 1959)
O Amor, o Sorriso e a Flor (recorded 1960)
Getz/Gilberto with Stan Getz (recorded March 18 & 19, 1963)
Getz Gilberto #2 with Stan Getz (recorded October 9, 1964)
The Best of Two Worlds with Stan Getz (recorded May 21, 1975)

The Composer of Desafinado Plays (recorded May 9 & 10, 1963)
The Wonderful World of Antonio Carlos Jobim (recorded 1965)
Wave (recorded May 22-24 and June 15, 1967)

Bossa Nova Bass Lines Pdf Free Download

Os Afro-sambas with Vinícius de Moraes (recorded January 3, 1966)

Rain Forest (recorded May 16 & 17, 1966)
A Certain Smile, A Certain Sadness (recorded September 20-23, 1966)
Batucada (recorded May 16 - June 25, 1967)

Jazz Meets The Bossa Nova (recorded 1962)
The Sound of Ipanema (recorded 1964)
Rio (recorded 1965)

Notable bossa nova artists[edit]

Gilberto Gil (early years)
Toquinho (Antônio Pecci Filho)

References[edit]

^Blatter, Alfred (2007). Revisiting music theory: a guide to the practice, p.28. ISBN0-415-97440-2.
^'Definition of Bossa Nova'. Merriam-Webster. Retrieved 19 June 2017. Origin and Etymology: Portuguese, literally, 'new trend'. First Known Use: 1962
^Mariana Garcia (10 July 2006). 'A estética da bossa nova (The aesthetics of Bossa Nova)' (in Portuguese). Com Ciência. Archived from the original on 19 February 2014. Retrieved 29 September 2014.
^Castro, Ruy (transl. by Lysa Salsbury). Bossa Nova: The Story of the Brazilian Music That Seduced the World. 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. ISBN1-55652-409-9 First published in Brasil by Companhia das Letras (1990)
^'Moyses Fuks'
^'Nara Leão'
^Bitencourt, Paulo. 'What is Bossa Nova?'. bitencourt.net. Retrieved 23 February 2015.
^'Step one, pour yourself a drink', Mark Collin, The Guardian, 27 June 2008
^'Blues and Samba: Another Side of Bossa Nova History' article by Bryan McCann, from the Luso-Brazilian Review, cited in the Project MUSE (in Portuguese)
^'Caboclos refers to the mixed-race population (Indians or Africans 'imported' to the region during the slave era, and Europeans) who generally live along the Amazon's riverbanks.' From 'Two Cases on Participatory Municipal Planning on natural-resource management in the Brazilian Amazon', by GRET — Groupe de Recherche et d'Échanges Technologiques, France (in English)
^Oxford Music Online article (subscription only)

External links[edit]

Wikimedia Commons has media related to Bossa nova.

'It's 20 years ago bossa nova was released to the world at Carnegie Hall in New York' by Rénato Sergio, Manchete magazine, 1982 (in Portuguese)

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Bossa_nova&oldid=905439341'

The Kenny Dorham classic—just as Kenny heard it. Did you know it was written around a bass line? Only jazzleadsheets.com has the lead sheet exactly as Kenny originally wrote it. Lead sheets and second parts available.

All selected items will be available for download after purchase.

Recording: Joe Henderson - Page One
Recorded on: June 3, 1963
Label: Blue Note (BLP 4140)
Concert Key: C minor
Vocal Range: , to
Style: Latin (Bossa)

Trumpet - Kenny Dorham
Tenor Sax - Joe Henderson
Piano - McCoy Tyner
Bass - Butch Warren
Drums - Pete LaRoca

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Video

Tommy Flanagan, piano; Ketter Betts, bass; Bobby Durham, drums
J.J. Johnson, trombone; Ralph Moore, tenor sax; Renee Rosnes, piano, Rufus Reid, bass; Billy Drummond, drums. Umbria Jazz 1993
Don Sickler, trumpet; Bobby Watson, alto sax; Shigeharu Mukai, trombone; Bobby Hutcherson, vibes; Don Pullen, piano; Cameron Brown, bass; Lewis Nash, drums. Mt. Fuji Jazz Festival

This is Kenny Dorham's 'jazz standard.' Many of you may feel you know it, and maybe you've even performed it. However, you may not be aware of the real magic of the composition: it's written around a bass line. For Kenny, the bass line was a very important part of the composition. If you listen carefully to our excerpt, which starts at the beginning of the melody, you'll hear the bass line. The actual recording starts with an eight-measure introduction, where bassist Butch Warren sets up the melody with four repetitions of the two-measure bass pattern. If you knew the composition but weren't aware of this bass line before, you're in for a real treat when you play the melody with K.D.'s bass line.
The C treble clef lead sheet includes the bass line on a separate staff under both the melody and the shout chorus, so you can see how they fit together. The other editions (B♭, E♭, C bass clef and all second parts) have only the melody line and the chord changes with bass line rhythms shown under the staff. Bass players, as well as anyone else wanting to see the entire bass line, should get the C treble clef edition.
All of our editions also contain Kenny's shout chorus. The shout chorus is constructed around the same bass line.

Don Sickler recalls,'I had many wonderful conversations with Joe Henderson about Kenny Dorham. Joe and Kenny worked closely together for many years and made quite a few albums together.
'Joe said he was always inspired by Kenny's writing, especially how Kenny wrote for the rhythm section. K.D.'s concept of constructing a melody around a bass line was something that Joe took to heart and used in his own writing. Many aren't aware that the melody of Joe Henderson's 'standard,' Recorda Me, also on the 'Page One' album, is written around a bass line. '
Joe's first recording session was two months earlier, for Kenny Dorham's 'Una Mas' album. That album featured another Dorham title, Una Mas.
Jazz guitarist Kenny Burrell wrote and recorded a lyric to Blue Bossa, called It's No Time To Be Blue.

Essential Bass (Butch Warren)
Many of trumpeter/composer Kenny Dorham's compositions contain specific parts for each member of the ensemble, making the whole greater than the sum of its parts. The lines interact with with the underlying harmonies and rhythms.
This composition is written around a bass line which is shown in the C treble clef lead sheet. For Kenny, the bass line was a very important part of the composition. The eight-measure introduction sets up the melody with four repetitions of the two-measure bass pattern.
Bass players should purchase the C treble clef (with Bass) lead sheet.

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Kenny Dorham

August 30, 1924 – December 15, 1972

Trumpeter/composer Kenny Dorham was very much on the jazz scene from the mid-1940s through most of the 1960s. He worked and recorded with all the major figures in the modern jazz movement, which includes the legendary Billy Eckstine big band, Dizzy Gillespie, Art Blakey, Bud Powell, Charlie Parker, Thelonious Monk and Max Roach as well as Kenny Clarke, Sonny Stitt, Fats Navarro, J.J. Johnson and many other giants of that period. Read more...

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