Piano

Basic patterns (Maxixe): 2 ≈Û Û ‰ Û ‰. Û‰ Û Û ≈Û≈ÛÛ comping & 4 J R J

? 2 Û Û ÛÛÛ Û. Û Û Û Û bass 4

3. Samba evolved from maxixe around the 1920s. Two elements were crucial for the defi- nition of its style: the patterns created by new and old percussion instruments that would later form the bateria (percussion ensemble), and the development of a two-bar pattern played by the guitar, differentiating it from the one-bar pattern of the maxixe: &42 Û Û Û Û Û Û Û Û. Û .

There are several patterns that can be used for samba. Most often samba is played with a two-bar pattern, one articulating the downbeat, the other with a 16th-note anticipation. 2 &4 Û Û Û Û Û Û Û Û Û Û . & Û Û Û Û Û Û Û Û Û Û .

There are different types of samba that differ in instrumentation, patterns, function, vocal style, tempo, etc. The most well-known derivations are the samba-enredo, samba- , samba-canção, gafieira, samba-de-breque, samba-de-roda, , partido alto, and samba-funk.

4. Partido Alto Originally, the term partido alto refers to an old style of samba with a fixed refrain and improvised choruses. This samba style has most recently had a comeback. During the 70s though, the term partido alto began to be associated with its particular rhythmic pattern in non-vocal music as well, and to be performed in particular by instrumental ensembles with drumset and bass. It is often used in, but not limited to, a pop or funk context. The partido alto pattern can start in either measure of its two-bar pattern. The melody determines which one should be used: C7 C7 2 Û Û Û Û Û Û Û. Û Û . . Û Û. Û Û Û Û Û Û Û . comping & 4 . . .

? 2 . . . bass 4 œ œ œ œ œ œ œ. œ œ . . œ œ. œ œ œ œ. œ œ œ .

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ÷ 2 œ œ . . œ œ . perc. 4 œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ

9 Brazilian and Afro-Cuban Jazz Conception Piano

The partido alto pattern is often simplified, with rhythms split between bass and accompaniment that plays the accents: C7 > > C7 > > 2 ‰ Û Û ≈ Û. Û . . ≈ Û. Û ‰ Û Û . comping & 4 . . . J J J J

? 2 ≈ . . ≈ . bass 4 œ bœ œ œ bœ nœ . . œ bœ nœ œ bœ œ . > > > > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ÷ 2 œ œ . . œ œ . perc. 4 œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ

5. Samba-Funk Samba-funk often uses the partido alto pattern (see above) with a funk feel. Variations of the partido alto pattern are also used with or without funk or pop feel. You can also create a samba-funk feel by using a regular funk groove and adding samba percussion instruments and patterns on top.

Example of variation: C7 > > 2 ≈ Û. Û Û ‰ Û Œ . comping & 4 . J J ? 2 . bass 4 œ bœ œ œ.bœ œ .

6. Bossa-Nova Bossa-Nova evolved around the late 50s by middle/high class musicians that used samba patterns with jazz harmonic progressions and chord tensions. It uses two and one-bar pattern, and has a concept of integration where all instruments and vocals are balanced in function and dynamics. The rhythmic accompaniment (and vocal style) created by João Gilberto mixed transparent and clear patterns where the harmonic voicings of progressions were as important as the melody.

Examples of one-bar patterns: 2 Û Û Û Û Û . . Û Û Û Û. . comping & 4 . . .

? 2 Û. Û Û. Û . . Û. Û Û. Û . bass 4 . . .

10 Brazilian and Afro-Cuban Jazz Conception Piano

II. CUBAN Unlike Brazilian music, Cuban music evolves around a two-measure rhythmic pattern called clave.

The clave is a rhythmic cell that is organized in either 2–3 or 3–2 patterns. They are the basis of complex polyrhythmic structures in Cuban music, into which the other rhythmic and melodic elements should fit. The pattern of the clave is played on a pair of round wood sticks, also named claves.

Son Claves:

2-3 Clave 3-2 Clave ÷c Œ Û ÛŒ Û. ÛŒ Û Û. ÛŒ Û Œ Û ÛŒ J J

1. Son and Son-Montuno Many Afro-Cuban music styles have their roots in the son. There are many types of son: afro-son, guajira-son, rumba-son, and others, including what we know today as Salsa. The son is characterized by the clave, and the tumbao, a typical bass line and conga pattern. Note that the bass line always anticipates the bar line by one quarter- note. ? c œ œ œ œ œ œ bass œ œ œ œ

÷ c Û. ÛŒ Û‰ Œ Û ÛŒ clave J J

÷ c œPTSTPTOœ œ œ œ œ œ œPTSTPTOOœ œ œ œ œ œ œ conga

O = Open tone P = Palm T = Finger tips S = Slap

If the piano plays a pattern called montuno, then the style is referred to as son-mon- tuno.

Example of 2–3 Son montunos: b F j B j j C7 j F j b c j œ œ œ œ œ j œ j . comping & œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? c œ. . œ œ. œ. . bass b œ. œ œ œ. œ. œ œ. œ

÷ c Œ Û ÛŒ Û. ÛŒ Û Œ Û ÛŒ Û. ÛŒ Û . clave J J

13 Brazilian and Afro-Cuban Jazz Conception Piano

RHYTHMIC AND MELODIC INTERPRETATION There are different ways one can interpret the rhythms of any given melody in the styles presented in this book. First you need to get familiar with some of the typical rhythms that are often seen in Brazilian and Afro-Cuban music.

Common rhythmic figures Repeat each figure several times in a loop. Practice them first using one single note. ÷ 24 Û. Û Û. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

Now work on some of the rhythmic variations that are constructed either by using ties and rests or in combination with other rhythms:

÷ 2 1Û. Û Û Û 2Û. Û Û Û 3‰. Û.Û Û 4‰. ÛÛ Û 4 R R

÷ 5≈Û Û Û Û 6‰. Û‰ Û 7Û Û Û. Û 8Û Û ≈Û Û R J

÷ 9≈Û Û ≈Û Û 10Û Û Û Û Û Û 11≈ Û≈. Û. 12≈ÛÛ Û ≈ÛÛ Û J J

÷ 13≈ÛÛ Û Û Û Û Û 14Û Û Û Û Û Û Û Û 15Û Û Û Û Û Û Û Û Û Û Û Û. Û

Length of syncopated notes They can vary depending on tempo, style and personal interpretation. In faster tempos the tendency is to shorten syncopated notes:

This written rhythm… ÷ 24 Û Û Û Û Û Û. Û Û Û

…could be played like this: or this: ÷ 2 Û Û ≈Û Û ‰. Û‰ Û ÷ 2 Û Û ≈Û Û Û ≈Û‰ Û 4 R J 4 J

15 Brazilian and Afro-Cuban Jazz Conception Piano

C El Son Mayor Tracks 09 to all my Latin American friends – 24 2-3 Son montunos Fernando Brandão

h = 84

# Intro j C . Œ Û ÛŒ Û. ÛŒ Û . . œ œ ‰ œ œ Œ. œ œ œ ‰ œ œ & . J . . œ J œ œ œ J

6 # j ‰ œ ‰ œ Œ. ‰ j j j‰ œ ‰ œ ‰ œ ‰ œ j . & œ œ œ ˙ œ œ œ œ œ œ œ œ J J œ œ œ .

A 7 11 G CDG C6 B 7 # A– triad œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ . œ œ #œ œ & œ ‰ œ J œ J ‰œ Œ J

#ø 15 E– F B 7 E– A–7 D7 r . b m # # œ œ nœ œ j j 9 œ œ œ œ œ œ & J J œ œ Œ. œ œ œ œ Ó ‰ œ œ œ œ

G CD7 G C6 B 7 19 œ œ œ œ. # œ œ œ œ œ œ œ œ œ œ œ & Ó ‰ #œ œ J ‰ œ Œ. J #œ œ œ

– – –7 7 23 # E E j j A Dm r œŒ ∑ ‰ œ‰ ‰ œ‰ j & œ œ œ œ œ J œ.œ œ J œ œ œ

A2 G 7 6 7 27 G CDœ œ ˙. C œ œ B # œ œ #œ œ œ œ œ œ œ œ œ œ & Ó ‰ œ œ bœ œ ‰

A– triad

– #ø 7 – –7 7 31 Eœ œ F Bm E m A m Dœ # (œ ) œ œ #œ #œ œ œ œ œ œ œ œ œ & Ó Œ‰J œ œ ‰ œ Œ ‰

Motive Displaced rhythm Displaced rhythm

30 ©2006 advance music, all rights reserved Brazilian and Afro-Cuban Jazz Conception Piano

G CD7 G C6 B 7 35 New motive œ œ œ œ œ œ œ # œŒ œ œ Œ œ œ ‰ œ œ œ œ œ ‰ œ ‰Jœ ‰ œ ‰ J & J J J J J J J

Rhythmic displacement

– #ø 7 – A–7 7 39 E˙. F B E œ m D # œ œ #9 b9 œ œ Œ ‰ œ œ œ œ œ. œ‰ œ œ œ œ œ Œ & J J J

B b7 43 G B bœ bœ œ # ˙ 9 . œ œ ‰ œ œ j œ. Ó Œ. b‰œ nœ ‰ J ‰ J nœ & œ œ J

bΔ 47 E D7 A– triad # œ. bœ #11j nœ œ #œ œ œ œ œ ‰ b‰œ b œ Œ‰œ œ ‰ œ œ œ & J J œ œ œ ˙ œ

b G B 7 51 # œ œ bœ. nœ. bœ œ œ nœ & œ œ ŒÓ Ó ‰ œ J œ J œ bœ œ

Groups of 3/8 b E Δ D7 55 œ œ # bœ œ Œ‰ œ œ ‰ œ ‰ œ #œ œ œ & œ #œ bœ œ nœ bœ œ bœ œ œ nœ ‰ J J J

Groups of 3/8 Tag G 7 r 7 59 m CDœ bœ œ œ G CD œ œ œ ˙ œ œ œ œ œ A– triad # œ ‰ œ œ œ Œ. œ œ œ œ œ œ œ & J œ œ

G CD7 G 63 # A– triad œ œ r œ Œ‰œ ‰ œ œ œ œ œ œ œ‰œœ ‰ œ œ ‰œ œ ŒŒœ & # œ œ J J œ J J œ œ œ œ œ œ

unison

©2006 advance music, all rights reserved 31 Brazilian and Afro-Cuban Jazz Conception Annotations and Exercises

EL SON MAYOR (p. 30) Points of interest: • Traditional son with 2–3 clave and Afro-Cuban harmonic progression: I IV V I in a major key, followed by I II V I in a minor key. • All C chords can be treated as C6, implying the A– triad. • Many phrases often end with anticipation of an e or a q. • Repeated notes in m. 23: 23 # E– & c œ œ œ œ œŒ

• In mm. 32–34, displaced rhythms and mordents are used in different parts of the beat each time: # F ø B 7 E– A–7 D7 32 m m m œ # œ œ #œ #œ œ œ œ œ œ œ œ œ & Œ‰J œ ‰ J œ Œ ‰ J

Motif Displaced rhythm Displaced rhythm G C6 B 7 • Displaced rhythms again in mm. 35–38: G C6 B 7 G CD7 Rhythmic displacement 35 New motif œ œ œ œ # œ œ œ œ œŒ œ œ Œ œ œ ‰ œ œ œ œ ‰ œ ‰Jœ ‰ œ ‰ J & J J J J J J J

• Section B brings a resting effect because of its slower harmonic progression (one chord every two measures). • Groups of q. in mm. 53 and 57: b B 7 Groups of 3/8 D7 D7 53 bœ. bœ œ œ 57 Groups of 3/8 œ œ # nœ œ J œ nœ œ œ # œ œ ‰ œ œ #œ œ œ & J J bœ & œ ‰ J J ‰ J

Exercises: 1. Figure out the montuno lines and play them in unison with the piano. 2. Improvise with chord-tones only before using chord-scale. 3. Practice embellishing your lines when improvising. Use mordents, trills and turns.

54 Brazilian and Afro-Cuban Jazz Conception