Charlie Byrd - Jazz 'n' Samba for Guitar: The Music of Antonio Carlos Jobim

33 Pages·2000·7.08 MB·English

by  Charlie Byrd

GHARLIEETRD
JAZZ'N'
SAN4BA F@R GUITAR
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CHEGA t)U SAUDADE (No ,\'lor,'8Jrrr'st 26
DESAFINAI)O (s/is/rt/v Ort Ol Trorct 5
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5d I)ANCO SAMUA r/,i:: \' s,rrrrbrr I 8
SOMEO:\-1E 1 O LIGHT UP MY LIFE t Se' To,/os Fo-sse'rtt lgrrais A l/ocd t . . 21
TtlAl LOOK YOU WEAR llstr,5r'rr C)J/r,rrt 18
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INTERPRETATION OF THE BOSSA NOVA
The bo6sa nova should almost play itself, There is no feeling of "pushrtaa
ln s lazz plece. Juet ride along easily with everythtng rather understated -- much
more subtle than, aay, the mambo or cha-cha-cha.
, Not only must the melody
be played louder than its surrounding notes, but it must also be phrased with a
certaln amount of freedom. Mueh of the beauty and excitement of the bossa nova
lies i.L t]le contraat between the melody, phrased rather freely, and the rhythm
section whlch is rather tight sounding and very even. This is well illustrated by
the music of Villa- Iobos. This greatest of Brazilian composers wrote many
highly rhythmic pieces for the guitar,but did not hesitate to employ ritards,ral-
lentandos, accelerandos and other breaks in tempo in order to enhance the mel-
ody.
HOW TO PRACTICE THESE ARRANGEMENTS
Some of the arrangements ln this folio will be a challenge for the average
pleyer. I would llke to Buggest a method of practice that may be helpful. Use a
metronome or other method of keeping a slow, steady tempo. Keep the eighth note
ln mind as the baeic rhythmic unit, not the quarter note. hactice very slowly un-
til you have the co-ordination of the various parts under the hand as well as in
your ear. ot y then should you attempt to bring the piece up to proper tempo.
PLAYING RHYTHM GUITAR IN THE BOSSA NOVA
I thtnk a few words mlght be appropriate here on tlre subject of playing
rhythm gultar ln the bossa nova. For exam.ple, when backing up a vocalist or so-
lolst:
Just adding even eighth notee to the rhythm s€ction is a help:
€tc.
Editorts note: In the bossa nova,and other Intin American music as well,
the eighth note is interpreted a8 lt is in claesical music, tlat le, exactly evenly.
Note the difference between this and the tazz interpretation whlch makes eighth
noteo sound more like ), ) ). J * .J ) J )
To the basic eigbth note pattern may be added bas8 notea. These may be
half notee: etc.
or dotted quarters followed by elghth notes:
The underlylng accentuatlon of the bossa nova is derived from the old Spanish
tVrhrrrt Xa {? ( In the most wpical bo66a nova beat, ttris rhythm
(' (a (
rs combtned wuh us mtlror r^ s., ft f l f
Editorrs note: Except for the lst quarter note of the 2nd bar. thi8 cor-
responds exactly to the clave beat as used in the bos6a nova. Anyone interested
ln the constructlon of Latln music ghould realize that the clave beat is it8 whole
foundation: rhythmic, melodic and harmonic.
Compare the traditlonal clave beat (r6ed in the cha-cha-cha, bolero, be-
guine, etc.) with the bosga nova clave.
Tladition(al lclteve((tll(rtrlBtoseea notvat cllavle
('
{(
Notice especially the subtle shift in accent ln the second bar.
Although it is imposslble to glve exact rules for rhythm playins, a hint may
be in order here. If the drummer is playing even elghth notes, the Sultarist
ehould play wit! a great deal of freedom. But if the drummer ie accentlng,the
glitarist should try to avoid conllicting too much with these accents. That ie,he
must play "in clave." A compa.rison between the rhythmic flgures on page 4
and the bo8sa nova clave beat will ghow you what this mean8,
SOME TTUCAL BOSSA NOVA RIIYTHM PATTERNS
(
3) 6( r
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4) 0r 0r LIau( 0l
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IMPONTANT
The chord dtagrana whlch ere found wlth each arrangenent are neant aa
eld to players wboee rlgbt resdlDg ls rct all tt shqrld be. They ahorld not be
for tbe rfotbn guttar part.
DESAFINADO
English Lyric bY (Slightly Out Of Tune)
Original text by
HENDRICKS and
JON
NEWTON MENDONCA
CAVANAUGH
JESSIE
Music by
ANTONTO CARLOS
JOBrM
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JAZZ'N'
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lrglis h Lyric by
\OR\l.{N CIMBEL (Sb Dango Samba)
tron lhe nlm COfACABA\A pAl.AC€
T\rne lowest string to D. Origina I Text and Mus ic by
Em7 ANTONIO CARLOS and
JOBIN4
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