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

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DESAFINAI)O (s/is/rt/v Ort Ol Trorct l)ON'l tVf-lt GO AWAY (Por Carsrr I)r'Iirri) FsI'F.R,\\C A PIRDIDA ESTE StL OLllAI{ I f/rrrt Lo,-l ) r,rr l|t'rrrr FOI A NOI]E 1/r l\irs \'rglrrr. .. IT ilAS NIGHTtiroiA Noirr') JAZZ 'N' SAI,lttA (S,i Darrqo Sarrrl,,rt

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SLIGHTLY OUT OF TUNE ( f)L'srrfrrrrrr lo ) 5d I)ANCO SAMUA r/,i:: \' s,rrrrbrr I 1 SOMEO:\-E 1 O LIGHT UP MY LIFE t Se' To,/os Fo-sse'rtt lgrrais A l/ocd TtlAl LOOK YOU WEAR llstr,5r'rr C)J/r,rrt vE\l \',tvFR S rU

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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.

, be played louder than

its

surrounding notes, but

Not only must the melody

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 melody.

HOW TO PRACTICE THESE ARRANGEMENTS Some of the arrangements ln this folio

pleyer.

I

will

be a challenge for the average

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.

til

hactice very slowly un-

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 half

)

added bas8 notea. These may be

notee:

etc.

or dotted quarters followed by elghth notes:

The underlylng accentuatlon of the bossa nova is derived from the old Spanish

tVrhrrrt

(

Xa {?

rs combtned wuh us

mtlror

In the most wpical bo66a nova beat, ttris rhythm

r^ s.,

f l f (a (

(' ft

Editorrs note: Except for the lst quarter note of the 2nd bar. thi8 corresponds 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, beguine, etc.) with the bosga nova clave.

Tladitional cleve

Bosea nova clave

(lt((tll(rtrltettll

(' {(

Notice especially the subtle shift in accent ln the second bar. Although

it is imposslble

be in order here. ehould play

glitarist

If

to glve exact rules for rhythm playins, a hint may

the drummer is playing even elghth notes, the Sultarist

wit! a great deal of freedom.

should

But

if

the drummer ie accentlng,the

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 and the bo8sa nova clave beat

will

ghow you what

this mean8,

4

SOME

3)

TTUCAL

BOSSA NOVA

6( r (

4) 0r

RIIYTHM PATTERNS

0

0r LIau( 0l

0

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 JON HENDRICKS and JESSIE CAVANAUGH

(Slightly Out Of Tune)

Original text by NEWTON MENDONCA Music by ANTONTO CARLOS JOBrM c?ile

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JAZZ'N' SAMBA

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Origina I Text and Mus ic by ANTONIO CARLOS JOBIN4 and VINICIUS DE MORAES

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IT WAS NIGHT (Foi A Noite)

Samba - Cancao

English L1,ric by GENE LEES

Original Text and Music by ANTONIO CARLOS JOBIM and NEWTON MENDONgA

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DON'T EVER GO AWAY (Por Causa De Voce) Samba- Cancao

English lyric by RAY GILBERT

Original text by DOLORES DURTN Music by AI.|TONIO CARLG JOBIM

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VEM VIV ER A MEU LADO Samba - cancao

Original Text and Music by ANTONIO CARLOS JOBIM and ALCIDES FERNANDES

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O QUE E QUE VAI SER DE MIM Samba

Original Tcxt and Music by ANTONIO CARI-OS

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THAT LOOK YOU WEAR (Este Seu Olhar)

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GENE LEES FmaJ?

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SOMEONE TO LIGHT UP MY

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LIFE

(Se Todos Fossem lguais A VocA) Samba- Cancao

English Lyric by CENE LEES F? Barre III EEtr

Original Text by VINICIUS DE \,lOMES Music by ANTONIO CARLOS JOBIN'I

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ESPERANqA PERDIDA Original Text and Music by ANTONIO CARLOS JOBIM and BILLY BLANCO A7+

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JON HENDRICKS and JESSTE CAVANAUGH

ANTONIO CARLOS JOBIM and VINICIUS DE MORAES

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(The Duck)

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