In the last article we listed some patterns which are characteristic of the Bossa Nova and Samba styles. The reader who has worked on the exercises presented in the series so far, and has been able to discover them in recorded and written material, will, by now have some conscious awareness of the idiom.

We have covered some basic aspects of the beat and feel of the music, become familiar with idiomatic rhythm and accompaniment patterns and have treated a melody by modifying it stylistically.

The study this month is a slow Bossa Nova. When we began studying the Samba Risoleta we introduced the different aspects of the piece in stages. I would suggest applying those same stages to this month's study, even though the piece is presented complete.

The first two bars at A are the key to the feel and mood of the music and we should make ourselves at home with these two bars before proceeding with the rest of the piece. It is worth noting that when a rhythm pattern is 'right', it is at once very enjoyable to play and self generating; that is to say that each repetition of it gives players the feeling that they want it to continue. Even when they stop playing it physically, the momentum of it goes on within them, it feels alive and independent. It is this kind of sensation that we are endeavouring to create within ourselves when we practise it. As a guide to the music here are some notes on studying the piece

Play the bass line, feeling the 2/4. The second beat of each bar is slightly weightier than the first. Use the fleshy side of the thumb, (not the thumb tip or nail,) as this produces a sound closer to that of the surdo.

Now play the melody (top line) on its own in order to clarify the shape of it. The accents serve to mark out the phrasing rather than to ask for heavier attacks.

Now play as written but listen to the bass line. Maintain the feel established earlier and fit the melody and accompaniment around this bass line; feel the bass pulse as an anchor or pivot.

Next feel the rhythmic displacement of the melody without losing the feel of the bass pulse.

When you are familiar with the technicalities of the music hear it as a song with accompaniment trying to feel the independence of the different lines.