![]() ![]() This can be clearly seen with a tricky line over the D flat Major II V I starting on bar 9. When playing jazz (or indeed any style) try thinking in leaps, 5th’s, 6th’s and 7th’s rather than steps, 2nd’s and 3rd’s as this will give greater harmonic depth to your solo. You may notice that on the harmonic side of things, the intervals between notes are much larger than you may play in a rock or blues solo. This is the rhythmic aspect that will help to give you that authentic jazz sound. Notice how the solo uses an almost constant stream of 8th notes occasionally broken up with a rest or a couple of 16th notes. By using good phrasing and note choice, you can construct a fairly convincing jazz solo by just using those two scales. The first 8 bars are in C minor, then the next 4 bars move to D flat major, before returning back to C minor for the remaining 4 bars. Solo #1 Using Key centre scales:īlue bossa can be viewed as having two key centres. Let’s go through each of the solos and point out any interesting or tricky parts. The backing track is for you to try playing the solo over and to practice improvising over this classic standard. On the audio files below you will hear each solo played and also an extended backing track. They have learnt from this method and used them in their own playing. Many famous jazz players, when interviewed have underlined the importance of transcribing a favourite player’s lines. Try making some of the licks and lines your own by phrasing them differently as well as trying them in different keys and tunes. I have written three solos each one chorus long using different approaches:Īim to learn the solos but more importantly learn from them and not just copy them ‘parrot’ fashion. One should be familiar with terms such as Major and minor II V I progressions, as this is what this tune is predominantly made up of. This lesson is aimed at those players that are starting to get into playing jazz. If you are playing a Strat like guitar, try putting it on the neck pick up with the tone control rolled back to about 3. ![]() In strict jazz playing there is very little, you wont hear Joe Pass adding tone wide vibrato to the end of one of his lines! The tone is also very different. There are lots of articulations in rock and blues such as bends, slides and vibrato. Leaping straight into jazz improvisation is a very hard thing to do especially if you are making a transition from rock or blues. Blue Bossa is also a tune that is used as a study piece in many music colleges, as it is a good introduction to playing and improvising over jazz tunes due to it being harmonically quite simple. Many great players have covered this tune including Pat Martino, Joe Pass, George Benson, Kenny Burrell and a great duo version by Bobby McFerrin and Chick Corea. The original version can be found on “The Best of Kenny Dorham – Blue note years” (Blue Note). Then I play through the chords to Blue Bossa! There is a chart for Blue Bossa at the bottom of the page for your reference.“Blue Bossa” is a 16 bar bossa nova jazz standard, written by trumpeter Kenny Dorham. I play a simple chord progression to demonstrate: We are laying the ground work! Click the below to listen:īelow is a little video that demonstrates a simple Bossa Nova picking pattern using the “Pinch Ja Boo Ja” method. We’ll associate a picking hand movement with each of these syllables later in the lesson. Please learn to say “Pinch Ja Boo Ja” in the Bossa Nova rhythm. This may seem a little bizarre but please bear with me. Here I clap the rhythm of a basic Bossa Nova beat please give it a listen, try to clap along and get this simple rhythm “in your bones”:įor learning purposes purposes I assign some spoken syllables to the rhythm that go like this: It will give you an idea of the type of the rhythm and groove that I am interested in teaching today.īefore I start talking about technical details like fingering and counting I’d like you to get a really clear idea of the rhythm that we are going to play. Here’s a video of me playing a tune called Blue Bossa with my Mya Moe baritone, Martin T-1 and a little help from my looper pedal. Latin Rhythms: Picking Patterns for Bossa and Samba! (UD#53)įrom Ukulele in the Dark w/ Guido Heistek
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