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THE BRAZILIAN MASTERS
Guitar Arrangements by Brian Hodel

26 DESAFINADO

12 SAMBA DE DUAS NOTAS

4

EBONY SAMBA

10 SAMBA DO AVIAO

30 ENGANO

14 SAMBA TRISTE

8

ESPERAN~A

PERDIDA

3 SAMBALAMENTO

6

ILHA DE CORAL

20 SE TODOS FOSSEM IGUAIS A vOCE 18 SILENCIO DO AMOR

23 INCERTEZA

16 MANHA DE CARNA VAL

7 SOLIDAO

There is no music more naturally suited to the guitar than Brazilian popular songs and certainly no greater composers of that music than Antonio Carlos Jobim, Luiz Bonfa, and Baden Powell. The universal appeal of the music itself and the popularity of the guitar as an instrument join to make the bossa nova a favorite guitar style throughout the world. It is not surprising that Brazilian music is so natural to the guitar when one discovers just how important the instrument is in Brazil and to her best composers. Antonio Carlos Jobirn, one of the world's most popular songwriters; composes on both guitar and piano. Luiz Bonfa and Baden Powell, authors of many international hits, are both virtuoso soloists on the guitar. And there is something in the intimate sound of the instrument itself that lends perfectly to the subtle syncopations of samba and bossa nova. This book has been designed not only to give pleasure to guitarists from average to expert playing ability, but also to serve as a method through which a player can learn the Brazilian style and gain enough understanding of it to arrange, compose, and improvise his own musical ideas within it. The songs appear in order of difficulty. Going through the book sequentially will improve your reading as well as your technique and musical expression.

Perhaps the greatest difficulty for players not familiar with the style is to get the "Brazilian swing" The following rhythm patterns contain most of the elements upon which this feeling is based. You can observe from the examples that the more complicated patterns are merely combinations of the basic ones. Play the basic examples until they feel natural and then go on to the more difficult ones. Then as you go through the songs you will find it much easier to understand how they are to be played.

1;. ,I til ,2, ,.'Itp til 4
BASTCPATTERN 'A' VATUA'T'TON'lON ·A·

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(II

Another important thing to remember is that the basic beat is almost always a "two feeL" (Notice that most of the 4/4 pieces are marked in cut time q: and have two half notes per measure in the bass making for a 212 feel.) The bass is usually on the beat, bu~ the melody is often on the off beats. If some of these"' more syncopated passages give you problems, try playing the melody and chord part uri-syncopated first and then anticipate the melody part until it makes sense musically as it is written. That plus listening to recordings should help you acquire a natural feel for the music.

,3./1
II

iU'11

'&EAtr 'fiB
(A) 1 2
J

45

frr~tpu=l
(B) 1 2 3 4'

BASIC PATTERN °B'

VARIATION ON 'B'

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Should you find the rhythm (A) difficult, first simplify it 10 (8) and then anticipate chord I of 8 before your thumb plays the bass note and extend chord 3 of B an extra Bth beat.

As with any music you wish to learn correctly, study the difficult passages slowly and thoroughly until they are "under your hands." Feel free to change the fingerings if you find a better way. Those given here follow the patterns and positions typical of Brazilian players and can be useful for your own arranging, composing, and improvising.
BASIC PATrERN -D" VARIATIONS ON ·D·

COMBtNA TlONS FROM BASIC PATTE RNS,

In this collection there is a lot of variety of mood and feeling. Songs like EBONY SAMBA, SAMBA DO AVIAO, and SAMBA DE DUAS NOTAS have a bright rhythmic drive. SAMBA TRISTE is driving but in a sadder mood. SE TODOS FOSSEM IGUAIS A VOCE and INCERTEZA possess that free-flowing romantic quality for which Jobim is famous; and Bonta's MANHA DE CARNA VAL is one of the most enchanting melodies ever written. So in each piece you learn, try to understand its mood and emphasize it as you play. By paying attention to the feeling and technical aspects of each piece you will grow both as a musician and guitarist.

SAMBALAMENTO LUIZ BONF To Coda" 11.r r r f of r Coda r J f_ T - r - r ill: ~ Rdr Repeat and fade TrtO ~ Copyright ':': ~:-. N. S. .'n:l\ 1963 and 1981 LUDLOW MUSIC. Made in U. Y.T:"l:t SecL!red ]NC . ~ 112. C.:. D. New York.'i.~. S..lD·. r - f r - . A.

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SS al Coda t Coda ".JJ:@.g r -+ CI © Copyright 1954 Edicoes Euterpe Ltda. Brazil r I t . Rio de Janeiro. S.g:~j I'·' _ malta rii. II .SOLIDAO By ANTONIO CARLOS JOBt and ALCIDES FERNANDE r_____.r _ 2 '-'" '-'" - To Coda+ @ D.

A PERDIDA By ANTONIO CARLOS JOBIM and BILLY BLANCO rcn -----.. S..f . Brazil "fRO HAMPSHIRE HOUSE PUBLISHING CORP~ New York. ~-f I:.. Rio de Janeiro.. A. ___ l_J J ~E 2@ 0 r .. r ¢vr 'F~ r 3~ # ~~ r II o rr=~r¢VII --. All Rigbts R. p j~ fF II © Copyright 1965 Edicoes Euterpe Ltda . controls all publication rights for the world (excluding South and Latin America) International Copyright Secured Made in U.q= ::5 1 f # + ~f '1" =""'= I~{ . TlFRd (ncf"dinl!__E1thlic Performance &lrProfit .ESPERAN<.

I - l~ " _ _ .4J._-_J - reI! ---------. 4 r - r r r - 'j#~~~ . I :[1 iBA1 poco rall. - ¢v--___. r~ i~~ r 2.

_ r¢III ~----i¢VII I" If f - - r ~ !J I¢V~ ® 0 or .1' Tum cru: HWHUTt picture "l-U1"A{. Milan.A.USIC. S. T © Copyright 1963. and Canada r r f rr .--. INC_Ne_w York controls ali publication rights for the U.V . :aF~ r CII ---..J.~I~~ ~ . '~3~frdf· : I" ¢m o~ "t72¥rV- j I~. Italy 1'BO HOLLISM.Al1ANA PALACE" SAMBA DO A VIAO (Song Rubato of the Jet) By ANTONIO CARLOS JOBIM~ Ir~r 2& '~rLr A tempo: Moderato dEY Q. 1965 and 1966 Edizioni Suvini Zerboni.

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New York.i j ~ 'i~.u Ig= f j f j TRO © Copyright 1963 and 1981 LUDLOWMUSIC. N. f !~:.t r Jdd. Intemgtional Coo\'Tight SecureJ. Y.~£d d d ~ ~~ d 1:~ . 81 H~ N1#U OF d = 60r ¢n LUIZ BONFA ------. ..! Made in U. ~G~·q~~~ r ~r or il j j i A r .. A. r7t i le=i n..SAMBA DE DUAS NOTAS .-# P tEtr~j I~. Moderato &##¢ OJ . or r r I~' fit r r ~I &1# . . S. INC.~C ~ It.i ~~~ fi~J~ rcm--- I .~.

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and Canada International Copyright Secured Made in U.fJ3~~ or r r ¢v-----.. s. INC~ New York.j l~-. ® I ¢n ~ " r r r r o r Sao Paulo.SAMBA (Sad Lento to allegretto. controls all publication rights for the U. A.Xll ~e @ rF~Jr·t @) r ev -----------~ con rubato J ~.1 n~ • '. ~:. Brazil TKO HOLLIS MUSIC. r . A.{_-1t5 an ¢VIII -r r· I rJ. All Rights Reserved Including Public Performance For Profit © Copyright 1961 Editora Musical Arapua. TRISTE Samba) By BADEN POWELL and BILLY BLANCO f harrn. S.r IF jI ~ ~ ® 1~~.

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. Inc.~~ 4 - f malta rii. and Canada assigned to Chappell & Co.~ n 11'@~.. S. Copyright for the U. Inc. and United Artists Music Co.. Inc.1wP Copyright © 1959 by Nouvelles Editions Meridian Copyright © 1964 by Chappell & Co. I cresco - . :~oirii ir~trilF~P EJ f rt= ~r I' o. (Rightsong Music Publishers) In_ternational Coovrizht Secured All Rlzhts Reserved Used bv Permission rem -------.A. - - - - - - - - .10 MANHA Lento ~ DE CARNA V AL LUIZ BONFA J .

. XU poco rit. ¢I11 . ¢VIr ~ 2 ~ n 1-6- r - -1 f meno mosso sustain chord I f . " -t )-l---J_ CV r:"Il .-harm. J:ff~!l~~·t~ ~.:.:. r¢V . r harm.~f~. XII @ "I r ¢VII --..I~·1 lo~>#rn'W] 1 or r¢III~ ® -t 1 I ¢VII -:-l r-Gr ----. n (" !~ or 0 ~ .G n 21 I ~..

disc DyhHg Performance For PrOfIt be 1 .kiii~ CIII. Y.~~ O#~ FH~l oJ t TRO © Copyright 1963 and 1981 LUDLOW MUSIC. New York... ~J~ ~~ F.r I ¢I1I---- II. p lIS .~S :CrrJrc:r I : r. o r¢V---. S: A.. rC1V- i - . can rubato 3 " ~.. ·fj. r r -r a tempo moderato ¥ 2#r .pw or OU£' r e~ #=n#'~ or :r. International Copyright Secured Made in U. N.ell 0 tt • Ij. ~. 2 -2 0 r if f poco allarg. v ~lLtr'\lLIU (The Silence UU AMUK Of Love) By LUIZ BONFA and MARIA TOLEDO Lento.

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Brazil fRO HOLLISMUSIC.~\_ H_<" .SE TODOS FOSSEM IGUAIS (Someone To Light Up My Life) Largo.::i.~#:~ ¥2!r ¢m rCII r ¢r -----..• New York. Rio de Janeiro. controls aU publication rights for the world (excluding.n 2F~~ sustain .J .~ "J t@i 03 93. South and Latin Am.~ II r. appassionato 3 A VOCE 3~ By ANTONIO CARLOS JOBIM .GIl r3~ ._ r r oj gJ o~ I~. . . INC. JJJ I ij~'! © Copyright 1958 Edicoes Euterpe Ltda.

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]h]' h D . INC~ New York.!~p.. Rio de Janeiro. © Copyright 1966 and 1981 Edi4foesEuterpe Ltda.~1~. __ ...~f. controls all publication rights for the world (excluding South and Latin America) ~~~e~in!. Brazil ~ .INCERTEZA (I Always Knew) By ANTONIO CARLOS J.T.3-t 'fRO HOLLISMUSIC.a!.~: A.. and NEWTON MENDO~ Lento ® &l#~# 3~'~ '0 f 'i~~t·U "i~ I* '(111'~tJ'§§~1 2~ r. or f InA~F:i~~.a~]c.

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sao Paulo. controls all publication © Copyright 1959 and 1962 Editora Musical Arapua. INC. mf f - r of '#I~S ~ rCV~ of 113 i r r r r f - - r . Al1 Rights Reserved Including Public Performance For Profit . S.~ ~! ~ CII ¢m h~ lit = UW!:~ fRO HOLLIS MUSIC.. A. S. Brazil r rights for the U. and Canada International Copyright Secured Made in U. New York.A.26 DESAFINADO By ANTONIO CARLOS JOBIM Allegretto (d = 85) con brio - I¢III~ r-¢VII --------.

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. J. All Rights Reserved Including Public Performance For Profit .. A..]OBIM and LUIZ BONF A . Brazil 1RO HOLLIS MUSIC. controls all publication rights in the world (excluding South and Latin America) Intemational Copyright Secured Made in U....--I 2 - r 1 -r i: - - r or rCVI1 -----. Q "E . New York...tda. 1 . S. ~ i....~ :f. 1 .ENGANO Largo. . Rio de Janeiro. 4.## i:~~ ~F i~f §{r CI ~~ @) f. con molto rubato CII By ANTONIO CARLOS... t .- J..¢I1-----. . 2~~ I • ~+2~ 1~ Ir. © Copyright 1954 Edicoes Euterpe t.. INC. @@ ¢v To Coda r ~--cnI---------------------~---' . II~' 2~ q~ ..

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