We then take this a step further and introduce the VI7 chord to create a 4-chord vamp. Starting with the 251 progression we apply the comping patterns to the chords Em9 – A13 – Dmaj13. We then introduce more chords into our 2-bar vamp. Depending on the style, or the song you are playing, these different starting points can be a useful tool. We can also displace this starting position to achieve a different pattern. The Reverse Comping Patternįor our first comping pattern, the right-hand chords started on the downbeat. Once you have internalised the common comping pattern, the next step is to lock into the pulse of the 16th note and use these as ghost notes in your comping patterns. For our first example, we take a major chord and add the 6 and the 9 to our right hand to get a rich and colourful rootless comping voicing. Rootless voicings containing extensions and alterations are well-suited to the Brazilian style. This versatile comping pattern that can be used as a base to create your own style of comping. This rhythm is one of the most useful comping patterns for you to learn and memorise so pay attention. This will allow us to focus on the rhythm. 1-Chord Vamp Over Major Harmonyįor the first example, we will start with major harmony using a 1-chord vamp. You can use these voicings and rhythmic grooves when playing a wide variety of songs in Bossa Nova or Samba style. In this lesson, we explore rhythms, voicings and comping patterns for the major 25s, 251s, & 1625s. If you enjoyed the lesson as a video subscribe to my YouTube channel below.Major Grooves: Comping Patterns & Voicings $4.99 Add to cart Video Version of this lessonīelow is a lesson on the 5 bossa nova rhythm patterns as a video. The bass line remains the same.Īlthough this lesson is completely free you can download all the tabs as a 2-Page PDF. And for each chord-change, we will come in an 8th-note early. In Pattern 5 the chords change every bar. We’ll also be alternating between patterns 2 and 3. In pattern 4 we start to alternate the bass line between the 5th and 6th strings. This pattern is also played reversed, swapping out the first two bars for each other. The difference is in the second bar where the chords are played on the “and” of beat 1 and on beats 3 and 4. Note that the first bar is identical to the first bar of Pattern 2. Pattern 3 is used in faster bossa nova songs and sambas. Once you are familiar with these first two patterns you will be able to mix and match them to create variety and interest. The only difference is a chord strike on the “and” of 4 in the 1st bar, right before the bass comes down on the 1 of the 2nd bar. Pattern 2 is a subtle variation of Pattern 1. In Pattern 1, the bass notes will be played on beats 1 and 3 as noted above, and the “chords” (the 3 higher notes) will be plucked on 1, 2 and on the “and” of 3. So in this case, the bass notes will fall on beats 1 and 3. I wrote in 4/4 time because that’s the way it’s done for jazz lead sheets. I play it with flesh only and with nail and flesh for the other fingers.īossa nova has a 2/4 feel, and that’s the way it’s written in Brazil. That said, I have seen it played with flesh and nail in a more classical guitar style. João Gilberto played the bass notes with the flesh of his thumb. The first step is to be able to play the lowest notes in the chords with your thumb.
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