In this article we shall have a look at a style of samba often heard on solo guitar. In part 3 of the series I described the 'Bonde' the old tram still running up and down the mountain sides in Rio and I have called this month's study 'Samba do Bonde', after that tram. Technically, this piece might pose one or two problems but if the patterns and exercises presented so far in the series have been worked on it will be well possible for the average player.

I do feel that the way one approaches a new piece of music has a lot of bearing on one's eventual feeling for it and consequent appreciation of it. Often the temptation is to try to absorb everything at once rather than make an analysis of the separate components and then synthesise them step by step. From my own experience, I find the latter approach to be both  faster and far less frustrating and, more important, easier to learn accurately, because one is dealing with only a small amount of material at any one time and, not least, more enjoyable as one feels the piece building itself up inside one. Particular weaknesses become apparent,   evidencing themselves as components or sections that are difficult to play or understand, and, once apparent, easier to repair.

For the above reasons, therefore, I offer suggestions for study which run along the lines suggested in earlier articles. My aim in doing this is not merely to repeat but to reinforce and clarify an approach which I feel will better help you to come to terms with the music presented so that you may more quickly be playing and enjoying it.

One of the characteristics of the Brazilian style of playing is that chords are attacked in 'block, piano style', even at speed, rather than strummed (rasgueado). The chords in this study are all to be played in this block style.

It is worth being aware that when we learn scales to prepare ourselves for melodic patterns we can also prepare ourselves for the rhythmic and harmonic patterns that make up the same music. Look, therefore, through the music and identify the rhythms, noting where they repeat. Then do the same with the harmonic patterns (chord sequences).

Although at first sight the study may look complicated and 'busy' rhythmically it will be immediately less so if you can ignore the melodic shapes and chord structures, concentrate on the rhythm patterns and note the repetitions and the differences as suggested above. Remember that the bar measure is a kind of 'carrier' for the rhythm within it and that it is absolutely essential for the correct feeling of the music to be certain within oneself of this 'carrier'. In this case we must feel the 2/4 of the music. If any rhythm is found especially difficult it is a good idea, in order to teach that rhythm to your body, to tap the pulse beat with one hand and the played rhythm with the other.

Next, organize the left hand. This piece is basically chordal and the melody line derives from the chord shapes and patterns. Establish and clarify the melody itself. Work the piece up to speed, being conscious first of the bass pulse and then of the way that the melody sits 'across' this pulse. Try to feel the synchronisation of the musical rhythm and of the physical rhythm of the hands moving. Once you are familiar with the structure and form of the music you will begin to hear the rhythmic counterpoint and then the dynamics of the music will be apparent to you. Right hand fingerings are particular to each player and consequently I have made no markings for them.

As a general guide to the music:

Section A serves as an introduction.

Section B C D make the theme (minor key effect).

Section E (repeat of A) acts as bridge/cadenza into-

Section F, second theme (major key effect)

Return to A, play B without repeat, play D with repeat and then after 6 bars of E go to coda.