‘When you're comfortable with this you can go back to the piano and apply the same gentle accents to the frst and fourth sixteenth note in each group. oO Ex 1S ‘Once you can do this with the right hand alone, go back to Example 13 and add the left hand. When ‘you play the entire song you won't accent these spots on every beat. Listen to the pandeiro on Track 59, where you will hear a variety of accent patterns. Accenting certain notes will make the performance livelier, either by holding them longer or playing them louder. Track 14 is a slowed-down version of measures 17-20 from “First Choro” (see full song later in this chapter), allowing you to hear how some notes are connected, and the slight Track 4 imegularty in the subdivisions of the beat. Appropriate accent patterns, articulation, and timing create Brazilian groove, as discussed at the end of Chapter 1, Example 16 (Track 15) is a workout for the left hand on the basic bass/chord pattern. O Bx 16 Teck 15 oB Bbdim Dm Gr oe Ebdim Fig RS Fedim =P Fate fF ‘Try playing the Following variations for the first phrase of "First Choro.” (Audio versions are on the CD data portion of the disk.) Es.17 f 7