You are right though, it is often a challenge to play piano in bossa nova in a way that blends with compliments the other instruments in the ensemble. When you actually listen to those 50s and 60s records from João Gilberto, Narah Leão, Tom Jobim, Vinicius De Morães, you hear that the instrumentation is a lot more varied, nuanced, and detailed than what you might expect.* It's not simply a guitar plodding along with a "bossa" rhythm, and singer/horn line**. This sometimes results in the depth of the original bossa nova music from 50s & 60s Brazil being reduced to a bit of a cliché. This is often lost in "bossa" fascsimiles/muzak that has often been produced in the anglosphere, where "bossa" is taken to mean "a Spanish guitar and some brushes on the kit playing something vaguely latin, quietly" haha (a little facetious, but not an exaggeration by much!). Once learned, practice comping along with a recording.The instrumentation of Brazilian bossa nova is varied and quite detailed. Go through the rest of the tune, applying this comping pattern to the other chords. This is the hallmark of the bossa nova rhythm. Notice the interlocking aspect of the two parts, creating a rhythmically dense texture. As you improve start to gradually increase the tempo, using your metronome. Be very careful to count and play the rhythms precisely. The trick here is to start slowly, perhaps even just focusing on two measures at a time. Now comes the challenging part – putting hands together. It will be very important to have each part (right hand and left hand) fully learned before trying to put hands together.īossa Nova Piano – Playing Hands Together Practice this comping rhythm slowly with your metronome, being as precise as possible with your rhythmic placement. Notice that the right-hand rhythm is a 2-bar phrase that repeats over and over. In the example below we’ve used rootless voicings in each of our chords. The right-hand part has its own distinct rhythm. Practice this bass line rhythm slowly with your metronome. But the bass line anticipates this chord change. For example, in measure 2 the last note of the bass line is a ‘G’ even though the chord above is still F major. Notice that when the chord changes, the last eighth note of the previous measure anticipates that change. Each chord is outlined by playing the root of the chord and then down to the 5th of the chord (you can also play up to the 5th of the chord). Let’s take a look at the left hand bass line and rhythm and examine the 3 “rules” above.Īs you can see, the rhythm of the bass line is a dotted-quarter note followed by an eighth note.
The bass line is built on the root and 5th of the chord.The bass line is a simple and recurring rhythmic figure.The bass line will be played by the left hand and follows some very basic “rules”:
Let’s take a look at the first 8 bars of “Girl From Ipanema.”
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