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Withaseductiveswingfeel,captivatingmelodies,andcoolchordprogressions,BrazilianJazzisone
ofthefirstgenresthatguitaristsexploreoutsideofBebop.
Withalonglineageofworldclassplayers,suchasLaurindoAlmeida,BadenPowell,Raphael
Rabello,andToninhoHorta,guitaristshaveplayedabigroleinthedevelopmentofBrazilianJazz.
Itsfromtherecordingsofthesegreatplayersthatyoucanlearntobuildyourownrepertoireof
BrazilianJazzrhythms,chordvoicings,andsoloinglines.
ThoughmanyguitaristsenjoyplayingandlisteningtoBrazilianJazz,itsoftenthecasethatwhenit
comestimetojamaBossaorSambatune,youendupfakingacompingpatterninyourplaying.
TohelpbringanauthenticBraziliansoundtoyournextjamsessionorgig,thislessonwillexplorea
varietyofessentialBrazilianJazzchordpatterns.
Aswell,therearearpeggiopatterns,scalepatterns,andBrazilianJazzlicksthatyoucanaddtoyour
soloingvocabulary.
WhetheryouwanttocompalaidbackBossaNovasong,orsolointhestyleofyourfavoriteBrazilian
Jazzguitarist,thematerialbelowwillhelpyoureachyourmusicalgoals.
FreeJazzGuitareBook:DownloadafreeJazzguitarPDFthatllteachyouhowtoplayJazz
chordprogressions,solooverJazzchords,andwalkbasslines.
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Introduction
BossaNovavs.SambaRhythms
EssentialBrazilianJazzSongs
BrazilianJazzChordsIntro
BossaNovaRhythm1
BossaNovaRhythm2
BossaNovaRhythm3
SambaRhythm1
SambaRhythm2
PartidoAlto
BrazilianJazzSoloingIntro
10BrazilianJazzGuitarArpeggioPatterns
10BrazilianJazzGuitarScalePatterns
10BrazilianJazzGuitarLicks
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Beforeyouplaytheexamplesbelow,justaquicknoteabouttheterminology.
WhenlivinginBrazil,mymusicianfriendsreferredtoalloftheserhythmsasSambarhythms.
TheBossaNovarhythmswereslowSambaandtheSambarhythmswerefastSamba.
TheyacknowledgedthatBossaNovawasamusicalgenre,butitwasconsideredmoreAmerican,
andSambawasBrazilian.
WhenjammingBrazilianJazztunes,alloftheserhythmswereused,buttheywereallcalledSamba,
whereasinothercountriestheyreoftenseparatedintoBossaNovaandSambarhythms.
Nomatterwhichterminologyyoudecidetouse,knowthatyoucanuseanyofthesecompingpatterns
overBrazilianJazztunes.
Bossarhythmswillbemoreeffectiveoverslowertunes,andtheSambarhythmsoverfasterBrazilian
Jazztunes.
IfyourenewtoBrazilianJazz,orarentsurewheretostartwithlearningtunes,hereare20Brazilian
Jazzsongsthatyoucanuseasareferencelistinyourstudies.
Ifyoudontknowwheretobegininyourtunestudy,startwiththesongsthatyourecognize,suchas
GirlfromIpanema,thenmoveontonewersongsfromthere.
Makesuretolistentoeachsongbeforeyoulearnit,asthatllgiveyoucluesastowhichcomping
rhythmswillbemostappropriate,tempo,andothermusicalelementsforeachsong.
AguadeBeber
AguasdeMarco
Berimbau
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CantodeOssanha
ChegadeSaudade
Corcovado
CravoeCanela
Deixa
Desafinado
HowInsensitive
InfluenciadoJazz
JazzandSamba
OBarquinho
OMorroNaoTemVez
OPato
OnceILoved
OneNoteSamba
SummerSamba
TheGirlFromIpanema
Wave
EachoftheBrazilianguitarchordsandrhythmsthatyoulllearnbelowcanbeusedoveranyofthese
songs.
RefertothenoteintheBrazilianJazzguitarchordssectionaboutchoosingtherightrhythmforany
Braziliansongyourejammingover.
ThemajorityofyourtimespentplayingBrazilianJazzwillbecompingchordsbehindamelodyline,or
othersoloists.
Becauseofthis,havingastrongsenseofauthenticBrazilianrhythmswillhelpnailBossaandSamba
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tunesinyourjamsessions.
Eachoftherhythmsbelowispresentedoveraonechordvamp,thefirstfourbarstoOBarquinho,
andtheentire16barformofthetune.
BylearningthesedifferentBossaandSambarhythms,youllensurethatyoureabletoconfidently
compinanyBrazilianJazzsituation.
Asyoullsee,therearesomerhythmsthatstartontheupbeat,andothersthatstartonthedownbeat.
ThekeytoplayingBrazilianJazzchordsistoknowwhentouseeachrhythminyourplaying.
WhenlivinginBrazil,themusiciansIperformedwithalwaystoldmetoletthemelodyofatuneguide
myrhythmicchoices.
So,ifthemelodyusesalotofupbeatsatthestartofthebar,useacompingrhythmthatalsohasup
beatsatthestartofthebar.
Ifthemelodyhasmoredownbeatsinthefirsthalfofthebar,usearhythmthathasmoredownbeats
atthestartofthebar.
Thatmightbeeasiersaidthandone.
But,withtimeandafterstudyingbothmelodiesandrhythms,youllbegintobeabletomaketheright
rhythmicchoicesoverBrazilianJazztunes.
Aswell,inBrazil,leadsheetsormostlywrittenin2/4time,whileinothercountriestheyrewrittenin
4/4time.
BecausetheRealBookandotherrelatedfakebooksuse4/4time,theexamplesinthislessonare
writtenin4/4.
Ifyouwanttotranslatethatinto2/4time,youcanjustplayeachrhythmathalfthewrittenspeed.
HeresanexampleofthatapproachoveraCmaj7compingpattern.
Thequarterand8thnotesinthefirsttwobarsarethentranslatedto8thand16thnotesinthe2/4
barstoallowthesamechordstofitoverbothtimesignatures.
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Whentranslatingrhythmsfrom4/4to2/4,youcanusethischartasaguidetohelpyouplaythe
correctrhythms.
WholeNotesbecomeHalfNotes
HalfNotesbecomeQuarterNotes
QuarterNotesbecome8thNotes
8thNotesbecome16thnotes
YourenowreadytobeginyourstudiesofBrazilianJazzguitarchords.
Startwiththefirstrhythm,nomatterwhereyouskiptofromthere.
Thisfirstrhythmisgoingtobethefoundationforallrhythmsthatfollow.
So,ifyoucanplaythefirstrhythmthenyoullbeabletousethatpatterntobuildtherestofthe
examplesinthelessonbelow.
But,ifyouskipthefirstrhythminyourstudies,youmightbeconfusedastowhyandhowother
rhythmsarebuiltinthislesson.
Lastly,youllnoticealotof6,9,6/9,andotherchordsbeingusedinplaceofthewrittenchord
changes.
ThisisbecauseinBrazilianJazz,playersoftenprefertousethesofter6and9basedchords,as
opposedtomaj7or7thchordsthatyoufindinJazz.
PlayingauthenticBrazilianJazzmeanslearningtherhythms,butalsothechordvoicings,somake
suretocheckouttheshapesbeingusedaswellastherhythmicpatternsineachexample.
AfavoriteofJoaoGilberto,andusedoverslowerBrazilianJazzsongs,thisBossaNovarhythmisthe
perfectintroductiontothegenreforthosethatarenewtoSambacomping.
Aswasmentioned,thisfirstBossarhythmwillactasthefoundationforeverythingyoudomoving
forward.
Forthatreason,youllbreakitdowntoitssmallestconcepts,andthenbuilditbackupagain.
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Intheprocessyoulllearnfundamentalguitarskillsthatllmakeeachsubsequentrhythmeasierto
learninyourpracticeroutine.
Thefirstitemtopracticeisgettingyourthumbtoplaytherootnotefortheunderlyingchordonbeats
1and3ofthebar.
Whendoingso,youwanttogetthisbassnotetobeautomatic,asitllactasthefoundationforeach
chordthatyouapplyoverthebassnotesinyourcomping.
Youllnoticethattherootnoteisusedforeachbassnoteinthis,andallexamples,inthislesson.
WhenplayingBrazilianJazzguitar,youcanplaytherootforeachbassnote,ratherthanalternating
therootand5thasyouwouldinotherLatinmusicalgenres.
Someplayersprefertousetherootand5thinthebass,butitsnotnecessaryandmoreoftenthan
notcaninterferewiththebassplayerwhenjamminginacombosetting.
HeresanexampleofthetonicbassnoterhythmoveraCmaj7chord.
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Onceyouhavethebassnotesunderyourfingers,yourereadytoaddyourfirstchordonbeatoneof
eachbar.
Whendoingso,makesuretokeepboththebassnotesanddownbeatchordquietinyourcomping.
AccentsareextremelyimportantinBrazilianJazzcomping,andsokeepingthesenotesandchords
quietwillmakeiteasiertoaddlouderchordslaterwhenappropriate.
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Movingon,youllnowplaythetopthreenotesofthechordonbeat2ofeachmeasure.
Again,keepallofthesechordsandbassnotesquietinyourplaying,noaccentsareaddedyettothe
compingpattern.
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YoullfinishthisfirstBossachordrhythmbyaddingachordonthe&of3ineachbar.
Thisllbeyourfirstaccentedchord,whereyoullplaythe&of3chordslightlylouderthantheother
chordsandbassnotesintherhythm.
Goslowwiththisrhythm,useametronome,andonlytakeittothesongexamplebelowwhenready.
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TohelpyouhearandplaythisBossarhythminamusicalsituation,herestheBossaNovarhythm1
appliedtothechordprogressiontotheBrazilianstandardOBarquinho.
Feelfreetolearneachfourbarsectiononeatatime,andthenconnectthemtogetherwhenyoure
comfortabletoformthetuneasawhole.
Aswell,forthisandallchordexamplesinthislesson,theresabackingtrack(bassanddrums)that
youcanusetopracticewithinyourstudies.
OBarquinhoBackingTrack Vm P
Clicktohear Vm P
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YourenowreadytomoveontothemorecomplexBossarhythms,asyoullseeinthenextexample.
Evenifthefirstexamplewaseasyforyoutogetdown,thisrhythmmighttakesometimetolearn.
So,dontfeellikeyouhavetorushit.
Takeyourtime,andreallyfocusontheanticipatedchordbeforeincreasingthetempoinyourstudies.
TheonlydifferencebetweenthefirstandsecondBossarhythms,istheadditionofthechordonthe&
of4ineachbar.
Thischordisthentiedovertothedownbeatofthesecondbar.
Thatmeansthat,afteryouplaytheinitialdownbeat,youllneverplayachordonthedownbeatof
anotherchordwiththisrhythm.
HeresanexampleofthatrhythmoverastaticCmaj7chordtogetyoustarted.
Noticethatthe&of3andthe&of4arebothaccentedinthisexample,withallotherchordsandbass
notesplayedquietly.
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Onceyourecomfortablewiththisrhythmoverastaticchord,yourereadytomoveontoapplyingitto
achordprogressioninyourguitarpracticeroutine.
Hereswherethingsbecomedifficultformostplayers.
Whenyouplaythechordonthe&of4,youllanticipatethenextchordintheprogressionwiththat
chord.
Thismeansplayingthetop3notesofthenextchordbeforethatchordandbassnotearrivesinthe
music.
ThisanticipationisanessentialelementwhenplayingBrazilianJazzguitar,butitcanhandcuffyouif
yourenotreadytotackleitinyourplaying.
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So,giveitatry,andifyoufinditverydifficult,gobackandworkthestaticCmaj7chordexampleuntil
yourereadytotrythisprogressionagain.
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Tofinishyourstudyofthisrhythm,heresthatnewBossarhythmappliedtothechordprogressionto
OBarquinho.
Again,watchtheanticipatedchords,astheyrenowusedovereverybarinthetune,resultinginalot
ofconcentrationneededtomakeitthroughthewhole16barforminyourcomping.
OBarquinhoBackingTrack Vm P
Clicktohear Vm P
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InthisfinalBossaNovarhythm,youllreversethepreviousrhythminyourcomping.
Before,youwereplayingtwodownbeatsinthefirsthalfofthebar,followedbytwoupbeatsinthe
secondhalfofthebar.
Now,youllreversethatprocessbyplayingtwoupbeatsfollowedbytwodownbeats.
Insomeways,thisrhythmiseasierthanthepreviousexample,asyourenotanticipatingthe
subsequentchordswiththisrhythm.
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YoullnowapplythislastBossarhythmtothefirstfourbarsofOBarquinho.
Thoughitsabiteasierthanthepreviousrhythm,movingtheaccentstothefirsthalfofthebargivesit
auniquefeelwhenappliedtoBrazilianJazzsongs.
Clicktohear Vm P
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Inthisfinalexample,youllapplythethirdBossaNovarhythmtothefullOBarquinhochord
progression.
Asyoureworkingthroughthis,oranyrhythm,inthislesson,feelfreetoapplyittoanyBrazilianJazz
songthatyourepracticing.
OBarquinhoBackingTrack Vm P
Clicktohear Vm P
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Samba Rhythm 1
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MovingontothefasterBrazilianJazzrhythms,thisfirstSambarhythmcombinestwopatternsthat
youvelearnedpreviously.
Intheexamplesbelow,youllplaythesecondBossarhythminthefirstbar,followedbythethird
Bossarhythminthesecondbar,repeatingthattwobarpatternfromthere.
Ashasbeenthecaseineachexamplesofar,youllaccenttheupbeats,sothesecondhalfofthefirst
barandthefirsthalfofthesecondbar.
Thoughitsacombinationofpreviouslylearnedmaterial,whichishelpful,itcanalsotaketimetoget
thisnewrhythmunderyourfingers.
Goso,thenincreasethetempoovertimeasyoubecomemorecomfortablewiththispatterninyour
comping.
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HeresanexampleofthefirstSambarhythmasappliedtotheopeningfourbarsofOBarquinho.
Clicktohear Vm P
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Lastly,heresthesamerhythmusedtocompoverthewholeOBarquinhochordprogression.
Again,ifithelps,breakdownthischordstudyintofourbarsections,workingitupfromthatstarting
point.
OBarquinhoBackingTrack Vm P
Clicktohear Vm P
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Samba Rhythm 2
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ThesecondSambarhythmisareverseofthecompingpatternthatyoujustlearned.
Inthiscase,youllplaytheBossa3rhythmfollowedbytheBossa2rhythminthesecondmeasure,
repeatingthattwobarpatternfromthere.
WatchthatyoudontflipthispatternyourcompingoverBrazilianJazzsongs.
Itseasytoflipbacktothepreviousrhythm,especiallywhenpracticingwithametronome.
So,usebackingtrackwhenpossiblesothatyourearswillhelpyoukeepthisrhythmlockedintothe
correctpartoftheform.
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Movingon,heresthesecondSambarhythmasappliedtothefirstfourbarsofOBarquinho.
NoticethatyourenowanticipatingtheBm7chordinbarthreeoftheprogression.
Youshouldbecomfortablewithanticipatingchordsatthisstageinyourdevelopment.
But,ifitsstillgivingyoutrouble,makesuretobecomecomfortablewiththisnextexamplebefore
movingontothefullsongstudybelow.
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TofinishyourstudyoftheSamba2rhythm,heresthefullOBarquinhoformwiththatrhythmapplied
toeachchordintheprogression.
Watchtheanticipationbetweeneachtwobarrhythmicphrase,andslowthingsdownwitha
metronomeifneededtoperfectthisrhythminyourplaying.
OBarquinhoBackingTrack Vm P
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Partido Alto
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ThefinalBrazilianJazzchordrhythminthislessoniscalledthePartidoAlto.
Thisrhythmusesaccentedupbeats,andtherellbeananticipationbetweeneachtwobarpatternas
youtakeittomovingchordprogressionsbelow.
Noticethatthefirsthalfofthefirstbarnowfeaturesonlyonechord,onthe&of1,asopposedtothe
twochordsyouveseenuptothispointinthelesson.
Holdingthatchord,notcuttingitshort,willgiveyouthatsmooth,Brazilianswingthatischaracteristic
ofBrazilianJazzguitar.
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HeresthePartidoAltorhythmappliedtothefirstfourbarsofOBarquinho.
Aswasmentionedearlier,youllneedtoanticipatethenextchordattheendofeachtwobarrhythmic
pattern.
Youcanseethatanticipationbeingusedattheendofthesecondbarinthisexample.
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Lastly,heresthePartidoAltorhythmappliedtothefullOBarquinhochordprogression.
Asalways,goslow,breakitdowntosmallerchunksifneeded,thenbuildupthefullchordstudyfrom
there.
OBarquinhoBackingTrack Vm P
Clicktohear Vm P
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WhilemanylessonsandbooksfocusonBrazilianJazzrhythmplaying,theresalottolearnandgain
fromstudyingthesoloingsidetothisgreatmusicalgenre.
Tohelpyouexpandyourguitarsoloingchops,aswellasdigintotheleadplayingsideofBrazilian
Jazz,youllnowlearnarpeggioandscalepatterns,aswellasBrazilianlicksoverpopularchord
progressions.
Theexamplesarewritteninonekey,sofeelfreetopracticethemaroundthefretboardinmultiple
keysinyourstudies.
Aswell,anyarpeggioandscalepatterncanbeusedtobuildyourguitartechnique,buttheycanalso
beusedinyoursoloinglinesandphrases.
So,afterlearninganytechnicalpatterninthissection,putonabackingtrackandjamoverthose
chordswhileaddingthearpeggioorscalepatterntoyoursolos.
ThesepatternsandlickscomefromSamba,andChorosongsandsolos,bothgenresofwhichhave
contributedgreatlytotheBrazilianJazzvocabulary.
Tobegin,youlllearnadescendingarpeggiopatternoverCmaj7.
Eachoftheexamplesinthissectioniswrittenoveronetypeofarpeggiotogetyoustarted.
So,afteryouvelearnedhowtoplaytheseexamplesoveronearpeggio,takeitfurtherbyapplyingto
otheressentialJazzarpeggiosinyourstudies.
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Intheascendingarpeggiopattern,youllapproachthefirstchordtonebyadiatonicnoteabovethat
tone.
YoucanseethiswiththeDCnotesatthestartofthepattern.
Fromthere,youclimbuptwoarpeggiotonesbeforerepeatingthepatternfromthere.
Clicktohear Vm P
Heresareversalofthepreviouspattern,whereyoullapproachthefirstchordtonebyadiatonicnote
above,followedbytwochordtonesbeforerepeatingthatpatterndowntheshape.
Clicktohear Vm P
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Youllnowaddinthediatonicapproachnotebeforethelastarpeggionoteineachfournotegrouping.
YoullseethiswiththeAGnotesinthefirstfournotegroup,repeatingitupthearpeggiofromthat
startingpoint.
Clicktohear Vm P
Here,youllplaythearpeggionote,thenalowerneighbortone,followedbytheoriginalarpeggionote.
ThispatternisalsocommonlyusedinJazzandGypsyJazzguitar,andsoitsanimportantpatternfor
guitaristsstudyingallstylesofJazzinyourplaying.
Clicktohear Vm P
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Heresanarpeggiopatternthatfeaturesanapproachnotebeloweachnoteinthearpeggio.
Noticethatthepatternstartsonthe&of1,asthefirstdownbeatisarest.
ThisisacommonrhythmicapproachtoplayingsinglelinesinBrazilianJazz,andithelpsplacethe
chromaticnotesinappropriateplacesinthebartobringouttheBraziliansoundinyourlines.
Clicktohear Vm P
Inthisnextpattern,youllplayadiatonicnoteabovethefirstarpeggionote,thenthearpeggionote,
followedbyanapproachnoteintothenextarpeggionote.
Thiscombinationpatternsoundsgreat,butcanbetoughtoapplyfromatechnicalstandpoint.
So,workthispatternwithoutanytimeatfirst,thenbringittoametronomewhenyourereadytobring
tempointotheequation.
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Heresamorecomplicatedpattern,frombotharhythmicandnotestandpoint,thatyoucanaddto
yourguitarpracticeroutine.
Thispatternmoreresemblesalickthanapracticepattern,makingitagreatlinetostudyasyoucan
easilytransportitintoyourBrazilianJazzguitarsolos.
Clicktohear Vm P
Heresabusierpatternthatfeatureschromaticnotesonthesecond8thnoteanddiatonicapproach
notesonthethird8thnoteofeachfournotegrouping.
Goslowwiththispattern,asitllalsobeanimportantadditiontoyoursoloingvocabularyaswellas
helpyoubuildyourarpeggiochopsinthewoodshed.
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Thisfinalarpeggiopatternbeginsonthe&of1,workingchromaticanddiatonicapproachnotesinto
thepatternfromthatstartingpoint.
Again,becausethispatternismoreinvolved,takeyourtimeandgoslow,bringingthetempoupwhen
yourecomfortableinyourroutine.
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YoullnowmoveontostudyingpopularBrazilianscalepatternsinyourpracticeroutine.
ThesepatternsareallwrittenoveraCmajorscale,sofeelfreetotakethemtootheressentialJazz
scalesinyourstudies.
Youcanalsomovethemtootherkeysasyouexpanduponeachpatterninyourplaying.
ThefirstBrazilianJazzscalepatternisanascendingpatternthatbeginswiththreepickupnotesin
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thefirstbar.
Fromthere,theresafournotegroupingthatisplayedupfromeachnoteinthescale.
Whendoingso,youreendingeachfournotegrouponthestrongbeatsofthebar,1and3.
Then,yourebeginningthepatternonthe&of1and3,weakerbeats,whichiscommonlyusedin
Braziliansinglenotemelodies.
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Here,youllbestartingonthe&of1,thenclimbinguptheentirescalefromthere,resolvingtothe
downbeatofthenextmeasure.
Youllrepeatthispatternfromeachnoteinthescaleasyouworkyourwayupthefingeringfromthat
startingpoint.
Thisisalongervariationofthefirstscalepattern,andagain,isatechniquethatscommonlyusedin
BrazilianJazzguitar.
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Afterthecharacteristicthreenoteleadin,thispatternthenjumpsupathird,beforereturningtothe
startingnoteineachfournotegrouping.
Thatpatternisthenrepeatedfromeachscaletoneasyoudescendthroughthescaleshapefrom
there.
Clicktohear Vm P
Heresareversalofthelongerpatternyoulearnedearlier,asyourenowdescendingtheentirescale
fromeachnote,beginningonthe&of1ineachbarasyougo.
Ifyouwanttoextendthispattern,youcancombineitwiththeascendingversioninyourstudiesas
youplaybothascendinganddescendingversionstogether.
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Clicktohear Vm P
Movingon,youllnowplaythreeascendingnotes(firstinversiontriads)beforedescendingthescale
fromthere.
Eachpatternisafullbarlong,andyoullrepeatitfromeachnoteinthescalebeforehittingthelower
rootnoteonthe6thstring.
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Inthisvariationofthefulloctavedescendingpattern,youllnowbringabitofrhythmicsyncopation
intothemix.
Makesuretorestonbeat2,notjustholdthefirstnoteover,asthiswillbringtheBrazilianswinginto
thispatternandyoursinglenotesolosfromhere.
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Afterplayingathreenoteintroduction,thispatternisafournotegroupingthatdescendstheentire
scale.
Usingthreenoteslikethistosetupthefullpatternisaneffectivewaytobeginthepatternonan
upbeatinyourguitarpracticing.
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Heresanothersyncopatedpatternthatyoucanpracticeandaddtoyoursoloinglinesandphrases.
Again,makesuretoplaythefirstnoteshortineachbar,whichaccentsthatnoteandhighlightsthe
restsbeforeandafterinyourplaying.
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ThenextBrazilianscalepatternusestiestokeepthepatternontheupbeatsasyouprogressupthe
scale.
Thispatternisalsoreferredtoasadiatonicenclosure,asyoureplayingonenoteabove,thenone
notebelow,beforelandingonyourtargetscalenote.
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Thefinalscalepatternrunsdiatonictriadsthroughthefingeringasyoudescendthescalepatternon
thefretboard.
Aswell,youreplayingtheroot35rootnotesinatypicalBrazilianstyle.
ThistriadpatternisalsopopularinJazzimprovisation,andsoitllmakeastrongadditiontoyour
vocabularyinanysoloinggenre.
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TofinishyourstudyofBrazilianJazzguitarsoloing,hereare10licksthatcomefromtheBrazilian
Jazztradition.
Eachlickisplayedoverapopularchordprogression,andusescommontechniquesfoundinthe
solosofBrazilianJazzguitarists.
AfterlearninganyoftheseBrazilianJazzguitarlicks,takeittootherkeys,aswellasuseitinyour
solostotakeitfurtherinyourstudies.
ThefirstlickusesarpeggiostooutlinethefirsttwochordsinaiiVIprogressioninF.
Fromthere,youllnoticetheb9intervalsoverC7,whicharebroughtoutbyusingaDbdim7arpeggio
inthatbar.
ThelastbarfeaturesatypicalChoroapproachnotepatterntohighlighttherootand6thoftheFmaj7
chord.
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InthisshortminoriiVIline,youllseeatypicalrhythmusedovertheA7altchordinthesecondhalfof
thefirstbar.
Mixing8thand16thnotesistypicalinBrazilianJazz,andissomethingyoucanstudyfurtherinyour
technicalandimprovisationalpracticeroutine.
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ThisiiVIlickbeginswithatypicalBrazilianscalepattern,followedbyoctavedisplacementbeing
usedinthesecondbaroftheline.
Here,youllseethenoteEjumpuptoaDonthethirdbeatofthesecondbar.
Thisiscalledoctavedisplacement,asyourecontinuingthescaledown,EtoD,buttheDisan
octavehighertoavoidrunningoutofroomontheguitar.
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ThisnextBrazilianJazzlickisinthestyleofHermetoPascoal,andasimilarlinecanbefoundinhis
songChorinhoPraEle.
Thislineusesadominantcyclesubtocreatetensionoverthefirstthreebarsofthephrase.
ThistensionisthenresolvedtothetonicnoteFinthelastbar.
DominantcyclesarecommonsubsinallgenresofJazz,andsotheyreimportanttostudyinyour
soloingpracticeroutine.
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AnotherHermetoPascoalinfluencedlick,thisphraseusesthemaj7intervaloverGm7,F#,aswellas
afulldescendingCMixolydianscaleinthesecondbar.
WhileinJazzyoureoftentoldtoavoidrunningfullscalesinyourlines,inBrazilianJazzthisapproach
iscommonlyused,asyoucanseeinthisexample.
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HeresahighlysyncopatedminoriiVIlickthatyoucanaddtoyoursoloingvocabulary.
Thoughthenotesarestraightforward,gettingthesyncopationunderyourfingerswilltakepractice.
Feelfreetocountthislineoutinyourpracticingatfirst,thenplayitbyhearingtherhythmswhenthat
approachiscomfortable.
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Inthisarpeggiobasedlick,youllseeaD9chordusedasasecondarydominantsubinbaroneofthe
phrase.
Wheneveryouhaveiim7V7chords,youcanalwaysplayII7V7astheII7istheV7ofV7inthiscase.
UsingsecondarydominantsubsiscommoninBrazilianJazz,andallstylesofJazzguitar.
Becauseofitspopularity,workingthissubinyourstudiesisessentialpracticingforanyJazz
guitarist.
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HeresadescendingBrazilianJazzguitarlickthatusestheCwholetonescaletooutlinetheiim7V7
chords.
Creatingtensionoveriim7V7chordsispopularinBrazilianJazz,asitisinallstylesofJazz,andthe
wholetonescaleisagreatwaytoaccomplishthisinyourplaying.
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ThisarpeggiobasedminoriiVIusestheEdim7arpeggiotobringouttheA7b9soundinthesecond
halfofthefirstbar.
Playingiim7b5iidim7overminoriiVprogressionisanimportantwaytooutlineminorkeychord
progressions.
ThisconceptiscommonlyusedinBrazilianJazz,andotherJazzstyles,andshouldbepracticed
furtherinyourstudies.
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InthisfinalBrazilianguitarlick,inspiredbythegreatguitaristBolaSete,youreusingminorarpeggios
tocreateasenseoftensionandresolutionovertheprogression.
Movingarpeggiosaroundinthismanner,suchastheBbm7Am7shapes,isagreatwaytocreate
tensionandresolutioninyoursolos.
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