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MATT WARNOCK GUITAR
Your Online Guide to Playing Better Jazz Guitar
Beginners Guide to Brazilian Jazz Guitar

Brazilian Jazz is one of the most popular
genres of modern Jazz guitar.
With a seductive swing feel, captivating
melodies, and cool chord progressions,
Brazilian Jazz is one of the first genres that
guitarists explore outside of Bebop.
With a long lineage of world-class players,
such as Laurindo Almeida, Baden Powell,
Raphael Rabello, and Toninho Horta,
guitarists have played a big role in the
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development of Brazilian Jazz.

Its from the recordings of these great players that you can learn to build your own
repertoire of Brazilian Jazz rhythms, chord voicings, and soloing lines.
Though many guitarists enjoy playing and listening to Brazilian Jazz, its often the case
that when it comes time to jam a Bossa or Samba tune, you end up faking a comping
pattern in your playing.
To help bring an authentic Brazilian sound to your next jam session or gig, this lesson
will explore a variety of essential Brazilian Jazz chord patterns.
As well, there are arpeggio patterns, scale patterns, and Brazilian Jazz licks that you can
add to your soloing vocabulary.
Whether you want to comp a laid-back Bossa Nova song, or solo in the style of your
favorite Brazilian Jazz guitarist, the material below will help you reach your musical goals.
Free Jazz Guitar eBook: Download a free Jazz guitar PDF thatll teach you how to
play Jazz chord progressions, solo over Jazz chords, and walk basslines.
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Brazilian Jazz guitar Contents (Click to Skip Down)

Introduction
Bossa Nova vs. Samba Rhythms
Essential Brazilian Jazz Songs
Brazilian Jazz Rhythm Guitar

Brazilian Jazz Chords Intro
Bossa Nova Rhythm 1
Bossa Nova Rhythm 2
Bossa Nova Rhythm 3
Samba Rhythm 1
Samba Rhythm 2
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Partido Alto
Brazilian Jazz Guitar Soloing

Brazilian Jazz Soloing Intro
10 Brazilian Jazz Guitar Arpeggio Patterns
10 Brazilian Jazz Guitar Scale Patterns
10 Brazilian Jazz Guitar Licks
Bossa Nova vs. Samba Rhythms

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Before you play the examples below, just a quick note about the terminology.
When living in Brazil, my musician friends referred to all of these rhythms as Samba
rhythms.
The Bossa Nova rhythms were slow Samba and the Samba rhythms were fast Samba.
They acknowledged that Bossa Nova was a musical genre, but it was considered more
American, and Samba was Brazilian.
When jamming Brazilian Jazz tunes, all of these rhythms were used, but they were all
called Samba, whereas in other countries theyre often separated into Bossa Nova and
Samba rhythms.
No matter which terminology you decide to use, know that you can use any of these
comping patterns over Brazilian Jazz tunes.
Bossa rhythms will be more effective over slower tunes, and the Samba rhythms over
faster Brazilian Jazz tunes.
Essential Brazilian Jazz Songs

If youre new to Brazilian Jazz, or arent sure where to start with learning tunes, here are
20 Brazilian Jazz songs that you can use as a reference list in your studies.
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If you dont know where to begin in your tune study, start with the songs that you
recognize, such as Girl from Ipanema, then move on to newer songs from there.
Make sure to listen to each song before you learn it, as thatll give you clues as to which
comping rhythms will be most appropriate, tempo, and other musical elements for each
song.
Agua de Beber
Aguas de Marco
Berimbau
Canto de Ossanha
Chega de Saudade
Corcovado
Cravo e Canela
Deixa
Desafinado
How Insensitive
Influencia do Jazz
Jazz and Samba
O Barquinho
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O Morro Nao Tem Vez

O Pato
Once I Loved
One Note Samba
Summer Samba
The Girl From Ipanema
Wave
Each of the Brazilian guitar chords and rhythms that youll learn below can be used over
any of these songs.
Refer to the note in the Brazilian Jazz guitar chords section about choosing the right
rhythm for any Brazilian song youre jamming over.
Brazilian Jazz Guitar Chords

The majority of your time spent playing Brazilian Jazz will be comping chords behind a
melody line, or other soloists.
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Because of this, having a strong sense of authentic Brazilian rhythms will help nail Bossa
and Samba tunes in your jam sessions.
Each of the rhythms below is presented over a one-chord vamp, the first four bars to O
Barquinho, and the entire 16-bar form of the tune.
By learning these different Bossa and Samba rhythms, youll ensure that youre able to
confidently comp in any Brazilian Jazz situation.
As youll see, there are some rhythms that start on the upbeat, and others that start on
the downbeat.
The key to playing Brazilian Jazz chords is to know when to use each rhythm in your
playing.
When living in Brazil, the musicians I performed with always told me to let the melody of a
tune guide my rhythmic choices.
So, if the melody uses a lot of up-beats at the start of the bar, use a comping rhythm that
also has up beats at the start of the bar.
If the melody has more down beats in the first half of the bar, use a rhythm that has more
down beats at the start of the bar.
That might be easier said than done.
But, with time and after studying both melodies and rhythms, youll begin to be able to
make the right rhythmic choices over Brazilian Jazz tunes.
As well, in Brazil, lead sheets or mostly written in 2/4 time, while in other countries theyre
written in 4/4 time.
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Because the Real Book and other related fake books use 4/4 time, the examples in this
lesson are written in 4/4.
If you want to translate that into 2/4 time, you can just play each rhythm at half the
written speed.
Heres an example of that approach over a Cmaj7 comping pattern.
The quarter and 8th-notes in the first two bars are then translated to 8th and 16th-notes
in the 2/4 bars to allow the same chords to fit over both time signatures.
When translating rhythms from 4/4 to 2/4, you can use this chart as a guide to help you
play the correct rhythms.
Whole Notes become Half Notes

Half Notes become Quarter Notes
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Quarter Notes become 8th Notes

8th Notes become 16th notes
Youre now ready to begin your studies of Brazilian Jazz guitar chords.
Start with the first rhythm, no matter where you skip to from there.
This first rhythm is going to be the foundation for all rhythms that follow.
So, if you can play the first rhythm then youll be able to use that pattern to build the rest
of the examples in the lesson below.
But, if you skip the first rhythm in your studies, you might be confused as to why and how
other rhythms are built in this lesson.
Lastly, youll notice a lot of 6, 9, 6/9, and other chords being used in place of the written
chord changes.
This is because in Brazilian Jazz, players often prefer to use the softer 6 and 9 based
chords, as opposed to maj7 or 7th chords that you find in Jazz.
Playing authentic Brazilian Jazz means learning the rhythms, but also the chord voicings,
so make sure to check out the shapes being used as well as the rhythmic patterns in
each example.
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Bossa Nova Rhythm 1

A favorite of Joao Gilberto, and used over slower Brazilian Jazz songs, this Bossa Nova
rhythm is the perfect introduction to the genre for those that are new to Samba comping.
As was mentioned, this first Bossa rhythm will act as the foundation for everything you do
moving forward.
For that reason, youll break it down to its smallest concepts, and then build it back up
again.
In the process youll learn fundamental guitar skills thatll make each subsequent rhythm
easier to learn in your practice routine.
The first item to practice is getting your thumb to play the root note for the underlying
chord on beats 1 and 3 of the bar.
When doing so, you want to get this bass note to be automatic, as itll act as the
foundation for each chord that you apply over the bass notes in your comping.
Youll notice that the root note is used for each bass note in this, and all examples, in
this lesson.
When playing Brazilian Jazz guitar, you can play the root for each bass note, rather than
alternating the root and 5th as you would in other Latin musical genres.
Some players prefer to use the root and 5th in the bass, but its not necessary and more
often than not can interfere with the bass player when jamming in a combo setting.
Heres an example of the tonic bass-note rhythm over a Cmaj7 chord.
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Once you have the bass notes under your fingers, youre ready to add your first chord
on beat one of each bar.
When doing so, make sure to keep both the bass notes and downbeat chord quiet in
your comping.
Accents are extremely important in Brazilian Jazz comping, and so keeping these notes
and chords quiet will make it easier to add louder chords later when appropriate.
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Moving on, youll now play the top-three notes of the chord on beat 2 of each measure.
Again, keep all of these chords and bass notes quiet in your playing, no accents are
added yet to the comping pattern.
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Youll finish this first Bossa chord rhythm by adding a chord on the & of 3 in each bar.
Thisll be your first accented chord, where youll play the & of 3 chord slightly louder than
the other chords and bass notes in the rhythm.
Go slow with this rhythm, use a metronome, and only take it to the song example below
when ready.
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To help you hear and play this Bossa rhythm in a musical situation, heres the Bossa
Nova rhythm 1 applied to the chord progression to the Brazilian standard O Barquinho.
Feel free to learn each four-bar section one at a time, and then connect them together
when youre comfortable to form the tune as a whole.
As well, for this and all chord examples in this lesson, theres a backing track (bass and
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drums) that you can use to practice with in your studies.
O Barquinho Backing Track
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Bossa Nova Rhythm 2

Youre now ready to move on to the more complex Bossa rhythms, as youll see in the
next example.
Even if the first example was easy for you to get down, this rhythm might take some time
to learn.
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So, dont feel like you have to rush it.

Take your time, and really focus on the anticipated chord before increasing the tempo in
your studies.
The only difference between the first and second Bossa rhythms, is the addition of the
chord on the & of 4 in each bar.
This chord is then tied over to the downbeat of the second bar.
That means that, after you play the initial downbeat, youll never play a chord on the
downbeat of another chord with this rhythm.
Heres an example of that rhythm over a static Cmaj7 chord to get you started.
Notice that the & of 3 and the & of 4 are both accented in this example, with all other
chords and bass notes played quietly.
Click to hear
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Once youre comfortable with this rhythm over a static chord, youre ready to move on to
applying it to a chord progression in your guitar practice routine.
Heres where things become difficult for most players.
When you play the chord on the & of 4, youll anticipate the next chord in the
progression with that chord.
This means playing the top-3 notes of the next chord before that chord and bass note
arrives in the music.
This anticipation is an essential element when playing Brazilian Jazz guitar, but it can
handcuff you if youre not ready to tackle it in your playing.
So, give it a try, and if you find it very difficult, go back and work the static Cmaj7 chord
example until youre ready to try this progression again.
Click to hear
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To finish your study of this rhythm, heres that new Bossa rhythm applied to the chord
progression to O Barquinho.
Again, watch the anticipated chords, as theyre now used over every bar in the tune,
resulting in a lot of concentration needed to make it through the whole 16-bar form in
your comping.
Click to hear
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Vm P
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Bossa Nova Rhythm 3

In this final Bossa Nova rhythm, youll reverse the previous rhythm in your comping.
Before, you were playing two downbeats in the first half of the bar, followed by two
upbeats in the second half of the bar.
Now, youll reverse that process by playing two upbeats followed by two downbeats.
In some ways, this rhythm is easier than the previous example, as youre not anticipating
the subsequent chords with this rhythm.
Click to hear
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Youll now apply this last Bossa rhythm to the first four bars of O Barquinho.
Though its a bit easier than the previous rhythm, moving the accents to the first half of
the bar gives it a unique feel when applied to Brazilian Jazz songs.
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In this final example, youll apply the third Bossa Nova rhythm to the full O Barquinho
chord progression.
As youre working through this, or any rhythm, in this lesson, feel free to apply it to any
Brazilian Jazz song that youre practicing.
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Click to hear
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Vm P
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Samba Rhythm 1
Moving on to the faster Brazilian Jazz rhythms, this first Samba rhythm combines two
patterns that youve learned previously.
In the examples below, youll play the second Bossa rhythm in the first bar, followed by
the third Bossa rhythm in the second bar, repeating that two-bar pattern from there.
As has been the case in each example so far, youll accent the upbeats, so the second
half of the first bar and the first half of the second bar.
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Though its a combination of previously learned material, which is helpful, it can also take
time to get this new rhythm under your fingers.
Go so, then increase the tempo over time as you become more comfortable with this
pattern in your comping.
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Heres an example of the first Samba rhythm as applied to the opening four bars of O
Barquinho.
Click to hear
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Lastly, heres the same rhythm used to comp over the whole O Barquinho chord
progression.
Again, if it helps, break down this chord study into four-bar sections, working it up from
that starting point.
Click to hear
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Vm P
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Samba Rhythm 2
The second Samba rhythm is a reverse of the comping pattern that you just learned.
In this case, youll play the Bossa 3 rhythm followed by the Bossa 2 rhythm in the second
measure, repeating that two-bar pattern from there.
Watch that you dont flip this pattern your comping over Brazilian Jazz songs.
Its easy to flip back to the previous rhythm, especially when practicing with a
metronome.
So, use backing track when possible so that your ears will help you keep this rhythm
locked into the correct part of the form.
Click to hear
Vm P
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Moving on, heres the second Samba rhythm as applied to the first four bars of O
Barquinho.
Notice that youre now anticipating the Bm7 chord in bar three of the progression.
You should be comfortable with anticipating chords at this stage in your development.
But, if its still giving you trouble, make sure to become comfortable with this next
example before moving on to the full song study below.
Click to hear
Vm P
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To finish your study of the Samba 2 rhythm, heres the full O Barquinho form with that
rhythm applied to each chord in the progression.
Watch the anticipation between each two-bar rhythmic phrase, and slow things down with
a metronome if needed to perfect this rhythm in your playing.
Click to hear
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Vm P
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Partido Alto
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The final Brazilian Jazz chord rhythm in this lesson is called the Partido Alto.
This rhythm uses accented upbeats, and therell be an anticipation between each twobar pattern as you take it to moving chord progressions below.
Notice that the first half of the first bar now features only one chord, on the & of 1, as
opposed to the two chords youve seen up to this point in the lesson.
Holding that chord, not cutting it short, will give you that smooth, Brazilian swing that is
characteristic of Brazilian Jazz guitar.
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Heres the Partido Alto rhythm applied to the first four bars of O Barquinho.
As was mentioned earlier, youll need to anticipate the next chord at the end of each twoopen in browser PRO version
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bar rhythmic pattern.

You can see that anticipation being used at the end of the second bar in this example.
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Lastly, heres the Partido Alto rhythm applied to the full O Barquinho chord progression.
As always, go slow, break it down to smaller chunks if needed, then build up the full
chord study from there.
Vm P
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Click to hear
Vm P
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Brazilian Jazz Guitar Soloing

While many lessons and books focus on Brazilian Jazz rhythm playing, theres a lot to
learn and gain from studying the soloing side to this great musical genre.
To help you expand your guitar soloing chops, as well as dig into the lead playing side of
Brazilian Jazz, youll now learn arpeggio and scale patterns, as well as Brazilian licks over
popular chord progressions.
The examples are written in one key, so feel free to practice them around the fretboard
in multiple keys in your studies.
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As well, any arpeggio and scale pattern can be used to build your guitar technique, but
they can also be used in your soloing lines and phrases.
So, after learning any technical pattern in this section, put on a backing track and jam
over those chords while adding the arpeggio or scale pattern to your solos.
These patterns and licks come from Samba, and Choro songs and solos, both genres of
which have contributed greatly to the Brazilian Jazz vocabulary.
Brazilian Jazz Guitar Arpeggio Patterns

To begin, youll learn a descending arpeggio pattern over Cmaj7.
Each of the examples in this section is written over one type of arpeggio to get you
started.
So, after youve learned how to play these examples over one arpeggio, take it further
by applying to other essential Jazz arpeggios in your studies.
Click to hear
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In the ascending arpeggio pattern, youll approach the first chord tone by a diatonic note
above that tone.
You can see this with the D-C notes at the start of the pattern.
From there, you climb up two arpeggio tones before repeating the pattern from there.
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Heres a reversal of the previous pattern, where youll approach the first chord tone by a
diatonic note above, followed by two chord tones before repeating that pattern down the
shape.
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Youll now add in the diatonic approach note before the last arpeggio note in each fournote grouping.
Youll see this with the A-G notes in the first four-note group, repeating it up the
arpeggio from that starting point.
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Here, youll play the arpeggio note, then a lower neighbor tone, followed by the original
arpeggio note.
This pattern is also commonly used in Jazz and Gypsy Jazz guitar, and so its an
important pattern for guitarists studying all styles of Jazz in your playing.
Click to hear
Vm P
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Heres an arpeggio pattern that features an approach note below each note in the
arpeggio.
Notice that the pattern starts on the & of 1, as the first downbeat is a rest.
This is a common rhythmic approach to playing single-lines in Brazilian Jazz, and it helps
place the chromatic notes in appropriate places in the bar to bring out the Brazilian
sound in your lines.
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In this next pattern, youll play a diatonic note above the first arpeggio note, then the
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arpeggio note, followed by an approach note into the next arpeggio note.
This combination pattern sounds great, but can be tough to apply from a technical
standpoint.
So, work this pattern without any time at first, then bring it to a metronome when youre
ready to bring tempo into the equation.
Click to hear
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Heres a more complicated pattern, from both a rhythmic and note standpoint, that you
can add to your guitar practice routine.
This pattern more resembles a lick than a practice pattern, making it a great line to study
as you can easily transport it into your Brazilian Jazz guitar solos.
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Click to hear
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Heres a busier pattern that features chromatic notes on the second 8th note and
diatonic approach notes on the third 8th note of each four-note grouping.
Go slow with this pattern, as itll also be an important addition to your soloing vocabulary
as well as help you build your arpeggio chops in the woodshed.
Click to hear
Vm P
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This final arpeggio pattern begins on the & of 1, working chromatic and diatonic
approach notes into the pattern from that starting point.
Again, because this pattern is more involved, take your time and go slow, bringing the
tempo up when youre comfortable in your routine.
Click to hear
Vm P
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Brazilian Jazz Guitar Scale Patterns

Youll now move on to studying popular Brazilian scale patterns in your practice routine.
These patterns are all written over a C major scale, so feel free to take them to other
essential Jazz scales in your studies.
You can also move them to other keys as you expand upon each pattern in your playing.
The first Brazilian Jazz scale pattern is an ascending pattern that begins with three
pickup notes in the first bar.
From there, theres a four-note grouping that is played up from each note in the scale.
When doing so, youre ending each four-note group on the strong beats of the bar, 1
and 3.
Then, youre beginning the pattern on the & of 1 and 3, weaker beats, which is
commonly used in Brazilian single-note melodies.
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Here, youll be starting on the & of 1, then climbing up the entire scale from there,
resolving to the downbeat of the next measure.
Youll repeat this pattern from each note in the scale as you work your way up the
fingering from that starting point.
This is a longer variation of the first scale pattern, and again, is a technique thats
commonly used in Brazilian Jazz guitar.
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Vm P
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After the characteristic three-note lead in, this pattern then jumps up a third, before
returning to the starting note in each four-note grouping.
That pattern is then repeated from each scale tone as you descend through the scale
shape from there.
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Heres a reversal of the longer pattern you learned earlier, as youre now descending
the entire scale from each note, beginning on the & of 1 in each bar as you go.
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If you want to extend this pattern, you can combine it with the ascending version in your
studies as you play both ascending and descending versions together.
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Moving on, youll now play three ascending notes (first inversion triads) before
descending the scale from there.
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Each pattern is a full bar long, and youll repeat it from each note in the scale before
hitting the lower root note on the 6th string.
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In this variation of the full-octave descending pattern, youll now bring a bit of rhythmic
syncopation into the mix.
Make sure to rest on beat 2, not just hold the first note over, as this will bring the
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Brazilian swing into this pattern and your single-note solos from here.
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After playing a three-note introduction, this pattern is a four-note grouping that

descends the entire scale.
Using three notes like this to set up the full pattern is an effective way to begin the
pattern on an upbeat in your guitar practicing.
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Heres another syncopated pattern that you can practice and add to your soloing lines
and phrases.
Again, make sure to play the first note short in each bar, which accents that note and
highlights the rests before and after in your playing.
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Click to hear
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The next Brazilian scale pattern uses ties to keep the pattern on the up beats as you
progress up the scale.
This pattern is also referred to as a diatonic enclosure, as youre playing one note
above, then one note below, before landing on your target scale note.
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The final scale pattern runs diatonic triads through the fingering as you descend the
scale pattern on the fretboard.
As well, youre playing the root-3-5-root notes in a typical Brazilian style.
This triad pattern is also popular in Jazz improvisation, and so itll make a strong addition
to your vocabulary in any soloing genre.
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Click to hear
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Brazilian Jazz Guitar Licks

To finish your study of Brazilian Jazz guitar soloing, here are 10 licks that come from the
Brazilian Jazz tradition.
Each lick is played over a popular chord progression, and uses common techniques
found in the solos of Brazilian Jazz guitarists.
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After learning any of these Brazilian Jazz guitar licks, take it to other keys, as well as use
it in your solos to take it further in your studies.
The first lick uses arpeggios to outline the first two chords in a ii V I progression in F.
From there, youll notice the b9 intervals over C7, which are brought out by using a
Dbdim7 arpeggio in that bar.
The last bar features a typical Choro approach note pattern to highlight the root and 6th
of the Fmaj7 chord.
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In this short minor ii V I line, youll see a typical rhythm used over the A7alt chord in the
second half of the first bar.
Mixing 8th and 16th notes is typical in Brazilian Jazz, and is something you can study
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further in your technical and improvisational practice routine.
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This ii V I lick begins with a typical Brazilian scale pattern, followed by octave
displacement being used in the second bar of the line.
Here, youll see the note E jump up to a D on the third beat of the second bar.
This is called octave displacement, as youre continuing the scale down, E to D, but the
D is an octave higher to avoid running out of room on the guitar.
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This next Brazilian Jazz lick is in the style of Hermeto Pascoal, and a similar line can be
found in his song Chorinho Pra Ele.
This line uses a dominant cycle sub to create tension over the first three bars of the
phrase.
This tension is then resolved to the tonic note F in the last bar.
Dominant cycles are common subs in all genres of Jazz, and so theyre important to
study in your soloing practice routine.
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Another Hermeto Pascoal influenced lick, this phrase uses the maj7 interval over Gm7,
F#, as well as a full descending C Mixolydian scale in the second bar.
While in Jazz youre often told to avoid running full scales in your lines, in Brazilian Jazz
this approach is commonly used, as you can see in this example.
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Heres a highly syncopated minor ii V I lick that you can add to your soloing vocabulary.
Though the notes are straightforward, getting the syncopation under your fingers will
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take practice.
Feel free to count this line out in your practicing at first, then play it by hearing the
rhythms when that approach is comfortable.
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In this arpeggio-based lick, youll see a D9 chord used as a secondary dominant sub in
bar one of the phrase.
Whenever you have iim7-V7 chords, you can always play II7-V7 as the II7 is the V7 of V7
in this case.
Using secondary dominant subs is common in Brazilian Jazz, and all styles of Jazz guitar.
Because of its popularity, working this sub in your studies is essential practicing for any
Jazz guitarist.
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Click to hear
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Heres a descending Brazilian Jazz guitar lick that uses the C whole tone scale to outline
the iim7-V7 chords.
Creating tension over iim7-V7 chords is popular in Brazilian Jazz, as it is in all styles of
Jazz, and the whole tone scale is a great way to accomplish this in your playing.
Click to hear
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This arpeggio-based minor ii V I uses the Edim7 arpeggio to bring out the A7b9 sound in
the second half of the first bar.
Playing iim7b5-iidim7 over minor ii V progression is an important way to outline minor key
chord progressions.
This concept is commonly used in Brazilian Jazz, and other Jazz styles, and should be
practiced further in your studies.
Click to hear
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In this final Brazilian guitar lick, inspired by the great guitarist Bola Sete, youre using
minor arpeggios to create a sense of tension and resolution over the progression.
Moving arpeggios around in this manner, such as the Bbm7-Am7 shapes, is a great way
to create tension and resolution in your solos.
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Vm P
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MATT WARNOCK GUITAR

Your Online Guide to Playing Better Jazz Guitar

Beginners Guide to Brazilian Jazz Guitar

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development of Brazilian Jazz.

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Brazilian Jazz guitar Contents (Click to Skip Down)

Brazilian Jazz Rhythm Guitar

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Brazilian Jazz Guitar Soloing

Bossa Nova vs. Samba Rhythms

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Essential Brazilian Jazz Songs

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O Morro Nao Tem Vez

Brazilian Jazz Guitar Chords

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Whole Notes become Half Notes

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Quarter Notes become 8th Notes

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Bossa Nova Rhythm 1

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drums) that you can use to practice with in your studies.

O Barquinho Backing Track

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Bossa Nova Rhythm 2

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So, dont feel like you have to rush it.

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O Barquinho Backing Track

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Bossa Nova Rhythm 3

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O Barquinho Backing Track

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O Barquinho Backing Track

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