In this article I would like to offer some phrases found in the music of Bossa Nova and thereby add to our 'Vocabulary' in this idiom. The following are rhythm patterns which, as an accompanist, one would be feeling and playing.

If we wish to study a new idiom and learn about it, it is generally better to go right back to source material and then follow the developments within the style from its early days to the present. By doing this, we can feel the growth and see the steps in its evolution, and eventually make our own contribution to that style without being merely an imitator of it.

Musical idioms often evoke sensations and primitive feelings that seem to have roots in us deeper than we would expect and serve to capture the imaginations of those present in the production of them be it performer or listener.

When we choose to study an existing culture, like the music of Brazil, there is already a line of development which over the years musicians have created and into which we must tune ourselves and familiarize ourselves with its component parts; that is to say, to learn the language of it. In doing this we become accustomed to its nuances and possibilities and they start to sound 'natural' to us. We can then share legitimately in its evolution.

Analysing the structures and patterns and absorbing them is one way to reach this state of being. The following patterns should be worked on until they become 'naturally' yours and available to you when you feel to play them.

The music of Brazil, like other folk idioms, is very closely connected with song and dance and the samba forms must be seen against a background of communities singing, dancing and playing. It is often said about the music of flamenco that, to play it with proper feeling and subtlety, one must first play it with dancers and singers who will improvise and present unexpected things which must be responded to immediately and accurately and that it is usually only by this 'trial by fire' that one develops the quickness and surety required. The same could be said about the music of Brazil. By playing with native groups one acquires the 'tricks of the trade' almost without thinking. During a performance, the music itself tells you what is fitting and what is not.

Modern life, in spite of all its negativity and dangers, does  contain some very positive aids to learning, and combined use  of printed word, record and tape can open up, in a few hours of  study, whole new worlds which formerly would have taken  ages to reach.

With this in mind one can study the listed patterns. First play them only as rhythm. Next add on a chord structure. It is  very good practice to work out the chord sequence to a  recorded piece of music and then play along with the music,  changing the chords but maintaining the rhythm pattern, noting where it sits well and where it does not. Having done this with each rhythm pattern, next play along but change the patterns as they better fit the music.

Working this way the student learns his own material and also, especially important for guitar players, he learns to listen to what else is going on around him and thus increase his overall musical awareness.

In all the above play the pattern with a m i of right hand as a block chord and play the beats (as in e.g. 1) with the thumb. If there is no guitar in the group one usually hears these patterns played on the snare drum. The examples below are suggestions in method of study.

e.g. 1) with chord of CM7

e.g.2) using chords of G7 and CM7

e.g.3) and 4) in sequence using chords Dm7, G13, CM7 & Gb7b5.