![]() You might also like the following live seminars by Jovino: This course is more accessible as I try to break down the concepts as simply as possible, and so after studying these harmony lessons I’d recommend checking out Jovino’s lessons. These lessons are more advanced but are taught by a true master of the Brazilian piano style. Stay tuned in the forum for more updates on this: įor the more authentic lessons on this subject definitely check out Jovino’s Brazilian Grooves course: Students can ask him questions for direct feedback and guidance which is exciting. We are shortly launching the ‘live’ aspect of the website and Jovino will be hosting a live monthly session on different Brazilian topics. His lessons are certainly more advanced and he explains the construction of the voicings a little less, so after you have taken the harmonic principles from this course I would recommend that you copy and emulate Jovino’s phrasing, accents, ghost notes, and other rhythmic nuances of his playing. In this course I break down the harmonic elements of Bossa Nova voicings, in particular the types of rootless voicings that we can use over the basic bass line.īossa Nova is not a style that I specialise in, and so to get the authentic rhythmic feel of the grooves, definitely defer to Jovino’s lessons and teachings as he is a master of this style. Piece 1.Yes that’s correct we can use ghost notes in Bossa Nova bass lines to enhance the rhythmic feel. When playing nylon-string, well-maintained fingernails can help with both the quality and consistency of your tone. A nylon-string is the firm favourite, but for more modern styles like bachata we used an electric guitar. The ideas in this article can be played on any type of guitar, but they will sound and feel most authentic on an acoustic guitar. Persevere, though! Get the toneĪmp Settings: Gain 3, Bass 7, Middle 6, Treble 9, Reverb 0 You may find it hard to practice this way to start with as most find placing the accent on beat two and four tricky. This approach also adds a natural accent to beats two and four. These classic rhythms will help your internal clock and develop good time keeping. We have recorded these (see fig 1) with the rhythms played on a wood block to listen to. This numbering refers to how many beats are in each of the two bars. It is often implied by the rhythm section, as opposed to being played in an obvious wayĮach clave has two variations. The ‘clave’ rhythm underpins the music in very much the same way the pulse does. Each style has it’s own ‘clave’, and we have written out two of the more common ones for you to study (see fig 1-2). It is often implied by the rhythm section, as opposed to being played in an obvious way. ![]() The name ‘claves’ is also used for a percussion instrument that consists of two woodblocks that are banged together. The five-stroke clave rhythm is two bars long and forms the backbone of the rhythm section. The ‘clave’ is a rhythmic pattern typically used in Afro Cuban music styles (Salsa, Cha Cha Cha, Mambo, Rumba, Samba etc.). Basslines in rock music generally feel most solid when they start on beat one, so it’s important when playing in a style with a ‘tumbao’ bassline to remember where the start of the bar is. The ‘tumbao’ can be confusing to listen to if you are a rock and pop musician as the bassline often starts on beat four of the bar. Transferring these piano ideas to the guitar can be challenging, as their syncopated nature adds extra difficulty if you are not use to playing, ‘off the beat’.įinally, in Afro-Cuban styles the bassline is often referred to as the ‘tumbao’. These syncopated lines often repeat over and over, and incorporate chromatic passages and octave intervals. The syncopated (off-beat) piano figures commonly heard in South American music are often referred to as a ‘montuno’. ![]() Drummers often play cascara rhythms on various parts of the kit and this adds to the complexity of the sound. The ‘cascara’ rhythm (it means ‘shell’ and was originally played on the side or ‘shell’ of the timbale drums.
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