Bossa bass patterns


  • BPM - Also known as Beats per Minute. The BPM is a term that identifies the tempo of a song. The BPM determines how many beats there are per minute of play. If the tempo is set to 120 bpm, then there are 120 quarter note beats per 60 seconds. The BPM is very important for all musicians, not just drummers. Cymbal - A cymbal that looks like it is inverted. The China Cymbal makes a very raw sound that is fast, and powerful. China cymbals have their outer edge bent upwards to limit the amount of ring it has. This cymbal can be played upside down to save on stick damage. China cymbals are used mostly in rock and heavier styles of music. Bongo - The Bongo is a hand drum that has a distinct tone and sound to it. These drums are usually smaller in size, and should not be mistaken for Congas. These are wood drums that are usually covered with a skin of an animal. The bongo is very popular in Latin and Afro-Cuban music. Bass drum pedal - The bass drum pedal is the device used to kick the bass drum. The bass pedal is made of a foot pad, spring, and a beater. Click for a complete diagram of the bass drum pedal. Clavès - A pair of wood blocks that have a high pitched sound when struck together. The Clavès are smaller blocks that are hand held. When hit, they have a distinct sound that travels through most instruments. There are distinct ways to hold the claves to get the best results from them. - Hand drums that offer a distinct tone similar to bongos and Djembes. These are wood drums topped with a skin of an animal hide. Congas are usually larger drums with a long body. The congas are very popular in Latin and Afro Cuban music; however they can be used anywhere. Cross stick - To hit your stick on the rim of your drum to create a unique sound that is similar to a wood block or cowbell. Cross sticking is where you place your tip of your stick on the drum head, and drop the stick onto the rim. A lot of drummers call this a rim shot, however they are completely different. Cross sticking patterns are popular for softer styles of drumming. Broken Up Beats - Drum beats that are played with odd patterns instead of constant strokes. Most beats you can hear a constant pulse on the ride cymbal or hi hat; however broken up beats take that feel away. By changing the pattern of your hi hat or ride cymbal, you are adding a totally different unique sound to the groove. Check out some broken beat patterns here! Bass comping - To add accents or hits to a pattern or groove with your bass drum. Comping is short for complimenting, which in drumming means to add shots when other members of the band are playing to accent their notes. Bass drum comping is done in all sorts of music; however the term is most popular in jazz music. Check out some examples of bass drum comping here! Let's Learn Music Theory 03: Intervals And Transposing. Drum head - Covering of a drum that fits on the top and bottom of a drum. There are two drum heads for every drum, a resonant head, and a batter head. Drum heads are tightened over the top of the drum by tension rods, and can be tightened or loosened to change the pitch of a drum. There are many different types of drum heads; coated, clear, 2-ply, pinstripe and more. Also known as drum skins. A Beginners Introduction To Frets, Notes, Tones, Intervals And Steps. Bossa Nova Clavè - This is a Latin pattern that is played with the Bossa Nova groove. This Clavè pattern is very similar to the Son Clavè; it is only different by one eighth note. The reason for this is so it fits into the Bossa nova groove easier. This is a 2-bar pattern that can be played in two directions, 2-3 and 3-2. There are 5 notes in this pattern. Cha Cha - This is one of the simplest forms of Latin music. The Cha Cha is played at slower tempos, and is driven by the cowbell. This style is based around the Cha Cha dance. Cymbal bell - The center of the cymbal in which it is the thickest. The center of most cymbals has a thick rise that has a different, higher pitch sound to it. When struck, these have a distinct sound that cuts through most instruments in the band. The Cymbal bell is great for accents and hits during a beat. Clavè Pattern - A Latin pattern that is used in most Latin and Afro-Cuban music. The Clavè pattern is a 2 bar pattern consisting of 5 notes. The Clavè can be played in two directions, 2-3 and 3-2. There are many different variations of the Clavè pattern. There is the Son Clavè, the Rumba Clavè, the Bossa Nova Clavè, and the 6/8 Clavè. Each one is a little different; however all are used in the same form. The Art Of Rhythm And Soloing - Part 1_basic Rhythm. Crash cymbal - A cymbal that produces a sharp, loud sound that is used in every style of music. Crash cymbals are made in many different sizes, styles, and thicknesses, and can make many different sounds. Crash cymbals can be used for accents, or to drive the beat. Afro Cuban - A type of Latin drumming that includes influences from Africa and Cuba. This style of music involves many of the Latin patterns, such as the Clave, Cascara, and Tumbao. There are many different types of Afro-Cuban music out there, so make sure you sample every style! How To Make Metal Riffs Out Of Chords. Drum Set - The set up of your drums. A drum set can range in any size; from a massive drum set including many drums, t Learning To Use Patterns In Other Scales/arpeggios Part 1. Bossa nova has at its core a rhythm based on samba. Samba combines the rhythmic patterns and feel originating in former African slave communities. Samba's emphasis on the second beat carries through to bossa nova (to the degree that it is often notated in 2/4 time). However, unlike samba, bossa nova doesn't have dance steps to accompany it. [8]. "Step one, pour yourself a drink", Mark Collin, The Guardian, 27 June 2008. Castro claims that the term "bossa nova" might have first been used in public for a concert given in 1957 by the Grupo Universitário Hebraico do Brasil (Hebrew University Group of Brazil). The authorship of the term "bossa nova" is attributed to the then-young journalist Moyses Fuks, who was promoting the event. [5]. That group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luiz Eça, Roberto Menescal, and others. Mr. Fuks's description, fully supported by most of the bossa nova members, simply read "HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA" ("Today. Sylvia Telles and a 'Bossa Nova' group"), since Sylvia Telles was the most famous musician in the group at that time. In 1959, Nara Leão also participated in more than one embryonic display of bossa nova. These include the 1st Festival de Samba Session, conducted by the student union of Pontifícia Universidade Católica. This session was chaired by Carlos Diegues (later a prominent Cinema Novo. "Blues and Samba: Another Side of Bossa Nova History" article by Bryan McCann, from the Luso-Brazilian Review, cited in the Project MUSE (in Portuguese). Bossa nova is a style of Brazilian music, which was developed and popularized in the 1950s and 1960s and is today one of the best-known Brazilian music styles abroad. The phrase bossa nova means literally "new trend" or "new wave" ( Portuguese pronunciation: The exact origin of the term "bossa nova" remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in Rio de Janeiro, the term "bossa" was used to refer to any new "trend" or "fashionable wave". In his book Bossa Nova, Brazilian author Ruy Castro asserts that "bossa" was already in use in the 1950s by musicians as a word to characterize someone's knack for playing or singing idiosyncratically. [4]. This page was last edited on 10 May 2019, at 13:22 (UTC). Mei, Giancarlo. Canto Latino: Origine, Evoluzione e Protagonisti della Musica Popolare del Brasile. 2004. Stampa Alternativa-Nuovi Equilibri. Preface by Sergio Bardotti; afterword by Milton Nascimento. (in Italian). McGowan, Chris and Pessanha, Ricardo. The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil. 1998. 2nd edition. Temple University Press. film director ), a law student whom Leão ultimately married. [6]. with Astrud Gilberto (recorded May 22 and October 9, 1964). "O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas." ("Samba, readiness and other bossas are our things, are things from us."). Blame It on the Bossa Nova (1963 hit song by Eydie Gorme )Luiz Henrique(Barra Limpa)Verve. Perrone, Charles A. Masters of Contemporary Brazilian Song: MPB 1965–1985. Austin: University of Texas Press, 1989. The lyrical themes found in bossa nova include women, love, longing, homesickness, nature. Bossa Nova was often apolitical. The musical lyrics of the late 1950s depicted the easy life of the middle to upper-class Brazilians, though the majority of the population was in the working class. However, in conjunction with political developments of the early 1960s (especially the 1964 military coup d'état ), the popularity of bossa nova was eclipsed by Música popular brasileira, a musical genre that appeared around the mid-1960s, featuring lyrics that were more politically charged, referring explicitly to working class struggle. Bossa nova is most commonly performed on the nylon-string classical guitar, played with the fingers rather than with a pick. Its purest form could be considered unaccompanied guitar with vocals, as created, pioneered, and exemplified by João Gilberto. Even in larger, jazz-like arrangements for groups, there is almost always a guitar that plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers from a samba ensemble, specifically the tamborim, and applied it to the picking hand. According to Brazilian musician Paulo Bitencourt, João Gilberto, known for his eccentricity and obsessed by the idea of finding a new way of playing the guitar, often locked himself in the bathroom, where he played one and the same chord for many hours in a row. [7]. When played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns usually contain a syncopation into the second measure. Overall, the rhythm has a "swaying" feel rather than the "swinging" feel of jazz. As bossa nova composer Carlos Lyra describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". Bossa nova was also influenced by the blues, but because the most famous bossa novas lack the 12-bar structure characteristic of classic blues, as well as the statement, repetition and rhyming resolution of lyrics typical of the genre, bossa nova's affinity with the blues often passes unnoticed. [9]. As in samba, the surdo plays an ostinato figure on the downbeat of beat one, the "ah" of beat one, the downbeat of beat two and the "ah" of beat two. The clave pattern sounds very similar to the two-three or three-two son clave of Cuban styles such as mambo but is dissimilar in that the "two" side of the clave is pushed by an eighth note. Also important in the percussion section for bossa nova is the cabasa, which plays a steady sixteenth-note pattern. These parts are easily adaptable to the drum set, which makes bossa nova a rather popular Brazilian style for drummers. De Stefano, Gildo, Saudade Bossa Nova: musiche, contaminazioni e ritmi del Brasile, Preface by Chico Buarque, Introduction by Gianni Minà, Logisma Editore, Firenze 2017,. Articles using Template:Infobox music genre with invalid colour combination. Bitencourt, Paulo. "What is Bossa Nova?". Retrieved 23 February 2015. with João Gilberto (recorded March 18 & 19, 1963).

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