DEXTER GORDON BLUE BOSSA TRANSCRIPTION PDF

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To help you understand these concepts further, here are short background descriptions for each of the important chord and Bossa concepts covered in the chord study below so that you can understand the building blocks of this exercise. This type of half-step movement on top of chords is commonly found in the playing of many Brazilian guitarists. Maj9 Chords — Again, this is a softer version of the Maj7 chords that many jazz guitarists prefer to use for their Imaj7 and IVmaj7 chord voicings.

When adding this chord into your playing, you can play the m11b5 to the m7b5, or vice-versa, in order to create some melodic movement on top of the chord changes. Bossa Bassline — During the chord study you will notice that the thumb plays bass notes on 1 and 3 of each bar, mostly the root note but sometimes the 5th or a chromatic note can be added in to create movement as well.

When playing these bass notes, you should accent the 3rd beat in order to create a more authentic Brazilian feel with this chord study. This anticipated chord movement is common in Brazilian music, and it will be one of the hardest parts of learning this chord study, or any Brazilian tune on the guitar. So, take your time, isolate these moments and work them on their own before going back and trying to work the study as a whole.

Syncopated Accents — As was the case with the accented 3rd beat in the bass notes, you will want to accent the upbeat chords a little in order to create the swing feel that you hear in Brazilian music. Notice that bossa nova chord patterns always have the following specifics: The bass notes come on the beat and are played with the thumb.

Usually, the root note is alternated with the 5th or a b5 in the case of m7b5 chords in the bass. Blue Bossa Chord Study 2 Here is a similar chord study, but this time on electric guitar, without the alternating bass pattern and some variations added in.

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