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The pattern is sometimes expressed the other way around-2–3-but you’ll most often hear it played as 3–2. The bossa nova clave, which is very similar to the son clave, is a repeating two-bar pattern comprised of three strikes in the first measure and two in the second, as shown in Example 2. When played correctly, the clave keeps all the other parts lined up in just the right way. And it’s also the name of a percussion instrument, a pair of wooden sticks used to play this pattern. It is the structural core of many rhythms, including salsa, rumba, son, mambo, and songo, to name just a few. The clave (pronounced clah- vay) is a tool found in Afro-Cuban music that helps organize rhythmic patterns. Note where the rhythms line up, and especially where they overlap in the clave part to create interest.īefore you add the guitar part, it’s a good idea to gain an understanding of the concept of the clave. In this case, the big 2 (indicated with an accent mark) lands on the second dotted quarter of each measure in cut time-actually beat 3 if you count it in a fast four. The bass drum covers the surdo part, a stick on the rim of the snare takes the clave, and the hi-hat plays the eighth notes that come from the cabasa part. For this lesson, however, I’ve used a 4/4 cut-time feel, making the syncopations easier to read and splitting the guitar pattern over two measures.Įxample 1 outlines the basic percussive elements in a bossa nova rhythm section, as played on a drum set. The emphasis on beat 2 in bossa is very important, and for that reason you will often see it written in 2/4 time. João Gilberto developed the basic bossa guitar style by experimenting with the tamborim rhythm from the samba. Samba has roots in Africa and combines several simultaneous rhythmic layers played on different instruments. The core rhythm of bossa nova is based on samba and places a characteristic emphasis on beat 2. In this lesson, you will visit a bit of history, examine the elements that make bossa, and then play a few examples that take you from training wheels to a comfortable ride on this delightfully addictive style. Bossa nova emerged from a unique combination of samba rhythms and harmonies from Brazilian folk music mixed with American jazz, not to mention an understated means of vocal projection that moved away from the brash operatic style of samba.īossa nova chordal patterns-played on a nylon-string guitar alone or with other instruments-are some of the most pleasing and interesting grooves you can add to your fingerstyle toolbox. In the 1950s and ’60s, Brazilian musicians like Antônio Carlos Jobim and João Gilberto developed a pleasingly smooth yet delightfully complex new style. So we're asking you to give just $1 (or whatever you can afford) right now. If you enjoyed the lesson as a video subscribe to my YouTube channel below.Hey, fellow guitarist! Did you know 99.9% of visitors to this site will scroll past this message without making a contribution? Many plan to pledge later, but then forget. $4.99 Add to cart Video Version of this lessonīelow is a lesson on the 5 bossa nova rhythm patterns as a video.
#BOSSA NOVA GUITAR TAB DOWNLOAD#
The bass line remains the same.Īlthough this lesson is completely free you can download all the tabs as a 2-Page PDF. And for each chord-change, we will come in an 8th-note early. In Pattern 5 the chords change every bar. We’ll also be alternating between patterns 2 and 3. In pattern 4 we start to alternate the bass line between the 5th and 6th strings. This pattern is also played reversed, swapping out the first two bars for each other. The difference is in the second bar where the chords are played on the “and” of beat 1 and on beats 3 and 4. Note that the first bar is identical to the first bar of Pattern 2. Pattern 3 is used in faster bossa nova songs and sambas. Once you are familiar with these first two patterns you will be able to mix and match them to create variety and interest. The only difference is a chord strike on the “and” of 4 in the 1st bar, right before the bass comes down on the 1 of the 2nd bar. Pattern 2 is a subtle variation of Pattern 1. In Pattern 1, the bass notes will be played on beats 1 and 3 as noted above, and the “chords” (the 3 higher notes) will be plucked on 1, 2 and on the “and” of 3. So in this case, the bass notes will fall on beats 1 and 3. I wrote in 4/4 time because that’s the way it’s done for jazz lead sheets. I play it with flesh only and with nail and flesh for the other fingers.īossa nova has a 2/4 feel, and that’s the way it’s written in Brazil. That said, I have seen it played with flesh and nail in a more classical guitar style. João Gilberto played the bass notes with the flesh of his thumb.
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The first step is to be able to play the lowest notes in the chords with your thumb.