Beginner's Guide To Brazilian Jazz Guitar - MATT WARNOCK GUITAR

9/27/2015 Beginner's Guide to Brazilian Jazz Guitar | MATT WARNOCK GUITAR
MATT WARNOCK GUITAR
Beginners Guide to Brazilian Jazz Guitar

BrazilianJazzisoneofthemostpopulargenresofmodernJazzguitar.
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.
Brazilian Jazz guitar Contents (Click to Skip Down)

http://mattwarnockguitar.com/brazilian-jazz-guitar 1/44
Introduction

BossaNovavs.SambaRhythms
EssentialBrazilianJazzSongs
Brazilian Jazz Rhythm Guitar

BrazilianJazzChordsIntro
BossaNovaRhythm1
BossaNovaRhythm2
BossaNovaRhythm3
SambaRhythm1
SambaRhythm2
PartidoAlto
Brazilian Jazz Guitar Soloing

BrazilianJazzSoloingIntro
10BrazilianJazzGuitarArpeggioPatterns
10BrazilianJazzGuitarScalePatterns
10BrazilianJazzGuitarLicks
Bossa Nova vs. Samba Rhythms

Beforeyouplaytheexamplesbelow,justaquicknoteabouttheterminology.
WhenlivinginBrazil,mymusicianfriendsreferredtoalloftheserhythmsasSambarhythms.
TheBossaNovarhythmswereslowSambaandtheSambarhythmswerefastSamba.
TheyacknowledgedthatBossaNovawasamusicalgenre,butitwasconsideredmoreAmerican,
andSambawasBrazilian.
WhenjammingBrazilianJazztunes,alloftheserhythmswereused,buttheywereallcalledSamba,
whereasinothercountriestheyreoftenseparatedintoBossaNovaandSambarhythms.
Nomatterwhichterminologyyoudecidetouse,knowthatyoucanuseanyofthesecompingpatterns
overBrazilianJazztunes.
Bossarhythmswillbemoreeffectiveoverslowertunes,andtheSambarhythmsoverfasterBrazilian
Jazztunes.
Essential Brazilian Jazz Songs

IfyourenewtoBrazilianJazz,orarentsurewheretostartwithlearningtunes,hereare20Brazilian
Jazzsongsthatyoucanuseasareferencelistinyourstudies.
Ifyoudontknowwheretobegininyourtunestudy,startwiththesongsthatyourecognize,suchas
GirlfromIpanema,thenmoveontonewersongsfromthere.
Makesuretolistentoeachsongbeforeyoulearnit,asthatllgiveyoucluesastowhichcomping
rhythmswillbemostappropriate,tempo,andothermusicalelementsforeachsong.
AguadeBeber
AguasdeMarco
Berimbau
CantodeOssanha
ChegadeSaudade
Corcovado
CravoeCanela
Deixa
Desafinado
HowInsensitive
InfluenciadoJazz
JazzandSamba
OBarquinho
OMorroNaoTemVez
OPato
OnceILoved
OneNoteSamba
SummerSamba
TheGirlFromIpanema
Wave
EachoftheBrazilianguitarchordsandrhythmsthatyoulllearnbelowcanbeusedoveranyofthese
songs.
RefertothenoteintheBrazilianJazzguitarchordssectionaboutchoosingtherightrhythmforany
Braziliansongyourejammingover.
Brazilian Jazz Guitar Chords

ThemajorityofyourtimespentplayingBrazilianJazzwillbecompingchordsbehindamelodyline,or
othersoloists.
Becauseofthis,havingastrongsenseofauthenticBrazilianrhythmswillhelpnailBossaandSamba
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.
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.
Bossa Nova Rhythm 1

AfavoriteofJoaoGilberto,andusedoverslowerBrazilianJazzsongs,thisBossaNovarhythmisthe
perfectintroductiontothegenreforthosethatarenewtoSambacomping.
Aswasmentioned,thisfirstBossarhythmwillactasthefoundationforeverythingyoudomoving
forward.
Forthatreason,youllbreakitdowntoitssmallestconcepts,andthenbuilditbackupagain.
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

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Bossa Nova Rhythm 2

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.
So,giveitatry,andifyoufinditverydifficult,gobackandworkthestaticCmaj7chordexampleuntil
yourereadytotrythisprogressionagain.
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Tofinishyourstudyofthisrhythm,heresthatnewBossarhythmappliedtothechordprogressionto
OBarquinho.
Again,watchtheanticipatedchords,astheyrenowusedovereverybarinthetune,resultinginalot
ofconcentrationneededtomakeitthroughthewhole16barforminyourcomping.

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Bossa Nova Rhythm 3

InthisfinalBossaNovarhythm,youllreversethepreviousrhythminyourcomping.
Before,youwereplayingtwodownbeatsinthefirsthalfofthebar,followedbytwoupbeatsinthe
secondhalfofthebar.
Now,youllreversethatprocessbyplayingtwoupbeatsfollowedbytwodownbeats.
Insomeways,thisrhythmiseasierthanthepreviousexample,asyourenotanticipatingthe
subsequentchordswiththisrhythm.
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YoullnowapplythislastBossarhythmtothefirstfourbarsofOBarquinho.
Thoughitsabiteasierthanthepreviousrhythm,movingtheaccentstothefirsthalfofthebargivesit
auniquefeelwhenappliedtoBrazilianJazzsongs.
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Inthisfinalexample,youllapplythethirdBossaNovarhythmtothefullOBarquinhochord
progression.
Asyoureworkingthroughthis,oranyrhythm,inthislesson,feelfreetoapplyittoanyBrazilianJazz
songthatyourepracticing.

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Samba Rhythm 1

MovingontothefasterBrazilianJazzrhythms,thisfirstSambarhythmcombinestwopatternsthat
youvelearnedpreviously.
Intheexamplesbelow,youllplaythesecondBossarhythminthefirstbar,followedbythethird
Bossarhythminthesecondbar,repeatingthattwobarpatternfromthere.
Ashasbeenthecaseineachexamplesofar,youllaccenttheupbeats,sothesecondhalfofthefirst
barandthefirsthalfofthesecondbar.
Thoughitsacombinationofpreviouslylearnedmaterial,whichishelpful,itcanalsotaketimetoget
thisnewrhythmunderyourfingers.
Goso,thenincreasethetempoovertimeasyoubecomemorecomfortablewiththispatterninyour
comping.
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HeresanexampleofthefirstSambarhythmasappliedtotheopeningfourbarsofOBarquinho.
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Lastly,heresthesamerhythmusedtocompoverthewholeOBarquinhochordprogression.
Again,ifithelps,breakdownthischordstudyintofourbarsections,workingitupfromthatstarting
point.

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Samba Rhythm 2
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.

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Partido Alto
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.

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Brazilian Jazz Guitar Soloing

WhilemanylessonsandbooksfocusonBrazilianJazzrhythmplaying,theresalottolearnandgain
fromstudyingthesoloingsidetothisgreatmusicalgenre.
Tohelpyouexpandyourguitarsoloingchops,aswellasdigintotheleadplayingsideofBrazilian
Jazz,youllnowlearnarpeggioandscalepatterns,aswellasBrazilianlicksoverpopularchord
progressions.
Theexamplesarewritteninonekey,sofeelfreetopracticethemaroundthefretboardinmultiple
keysinyourstudies.
Aswell,anyarpeggioandscalepatterncanbeusedtobuildyourguitartechnique,buttheycanalso
beusedinyoursoloinglinesandphrases.
So,afterlearninganytechnicalpatterninthissection,putonabackingtrackandjamoverthose
chordswhileaddingthearpeggioorscalepatterntoyoursolos.
ThesepatternsandlickscomefromSamba,andChorosongsandsolos,bothgenresofwhichhave
contributedgreatlytotheBrazilianJazzvocabulary.
Brazilian Jazz Guitar Arpeggio Patterns

Tobegin,youlllearnadescendingarpeggiopatternoverCmaj7.
Eachoftheexamplesinthissectioniswrittenoveronetypeofarpeggiotogetyoustarted.
So,afteryouvelearnedhowtoplaytheseexamplesoveronearpeggio,takeitfurtherbyapplyingto
otheressentialJazzarpeggiosinyourstudies.
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Intheascendingarpeggiopattern,youllapproachthefirstchordtonebyadiatonicnoteabovethat
tone.
YoucanseethiswiththeDCnotesatthestartofthepattern.
Fromthere,youclimbuptwoarpeggiotonesbeforerepeatingthepatternfromthere.
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Heresareversalofthepreviouspattern,whereyoullapproachthefirstchordtonebyadiatonicnote
above,followedbytwochordtonesbeforerepeatingthatpatterndowntheshape.
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Youllnowaddinthediatonicapproachnotebeforethelastarpeggionoteineachfournotegrouping.
YoullseethiswiththeAGnotesinthefirstfournotegroup,repeatingitupthearpeggiofromthat
startingpoint.
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Here,youllplaythearpeggionote,thenalowerneighbortone,followedbytheoriginalarpeggionote.
ThispatternisalsocommonlyusedinJazzandGypsyJazzguitar,andsoitsanimportantpatternfor
guitaristsstudyingallstylesofJazzinyourplaying.
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Heresanarpeggiopatternthatfeaturesanapproachnotebeloweachnoteinthearpeggio.
Noticethatthepatternstartsonthe&of1,asthefirstdownbeatisarest.
ThisisacommonrhythmicapproachtoplayingsinglelinesinBrazilianJazz,andithelpsplacethe
chromaticnotesinappropriateplacesinthebartobringouttheBraziliansoundinyourlines.
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Inthisnextpattern,youllplayadiatonicnoteabovethefirstarpeggionote,thenthearpeggionote,
followedbyanapproachnoteintothenextarpeggionote.
Thiscombinationpatternsoundsgreat,butcanbetoughtoapplyfromatechnicalstandpoint.
So,workthispatternwithoutanytimeatfirst,thenbringittoametronomewhenyourereadytobring
tempointotheequation.
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Heresamorecomplicatedpattern,frombotharhythmicandnotestandpoint,thatyoucanaddto
yourguitarpracticeroutine.
Thispatternmoreresemblesalickthanapracticepattern,makingitagreatlinetostudyasyoucan
easilytransportitintoyourBrazilianJazzguitarsolos.
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Heresabusierpatternthatfeatureschromaticnotesonthesecond8thnoteanddiatonicapproach
notesonthethird8thnoteofeachfournotegrouping.
Goslowwiththispattern,asitllalsobeanimportantadditiontoyoursoloingvocabularyaswellas
helpyoubuildyourarpeggiochopsinthewoodshed.
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Thisfinalarpeggiopatternbeginsonthe&of1,workingchromaticanddiatonicapproachnotesinto
thepatternfromthatstartingpoint.
Again,becausethispatternismoreinvolved,takeyourtimeandgoslow,bringingthetempoupwhen
yourecomfortableinyourroutine.
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Brazilian Jazz Guitar Scale Patterns

YoullnowmoveontostudyingpopularBrazilianscalepatternsinyourpracticeroutine.
ThesepatternsareallwrittenoveraCmajorscale,sofeelfreetotakethemtootheressentialJazz
scalesinyourstudies.
Youcanalsomovethemtootherkeysasyouexpanduponeachpatterninyourplaying.
ThefirstBrazilianJazzscalepatternisanascendingpatternthatbeginswiththreepickupnotesin
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.
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Heresareversalofthelongerpatternyoulearnedearlier,asyourenowdescendingtheentirescale
fromeachnote,beginningonthe&of1ineachbarasyougo.
Ifyouwanttoextendthispattern,youcancombineitwiththeascendingversioninyourstudiesas
youplaybothascendinganddescendingversionstogether.

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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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Brazilian Jazz Guitar Licks

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.
Clicktohear Vm P

InthisfinalBrazilianguitarlick,inspiredbythegreatguitaristBolaSete,youreusingminorarpeggios
tocreateasenseoftensionandresolutionovertheprogression.
Movingarpeggiosaroundinthismanner,suchastheBbm7Am7shapes,isagreatwaytocreate
tensionandresolutioninyoursolos.
Clicktohear Vm P


Beginner's Guide To Brazilian Jazz Guitar - MATT WARNOCK GUITAR

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9/27/2015 Beginner's Guide to Brazilian Jazz Guitar | MATT WARNOCK GUITAR

MATT WARNOCK GUITAR

Beginners Guide to Brazilian Jazz Guitar

Brazilian Jazz guitar Contents (Click to Skip Down)

Brazilian Jazz Rhythm Guitar

Brazilian Jazz Guitar Soloing

Bossa Nova vs. Samba Rhythms

Essential Brazilian Jazz Songs

Brazilian Jazz Guitar Chords

Bossa Nova Rhythm 1

Bossa Nova Rhythm 2

Bossa Nova Rhythm 3

Brazilian Jazz Guitar Soloing

Brazilian Jazz Guitar Arpeggio Patterns

Brazilian Jazz Guitar Scale Patterns

Brazilian Jazz Guitar Licks

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