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9/27/2015 Beginner's Guide to Brazilian Jazz Guitar | MATT WARNOCK GUITAR

MATT WARNOCK GUITAR

Beginners Guide to Brazilian Jazz Guitar


BrazilianJazzisoneofthemostpopulargenresofmodernJazzguitar.

Withaseductiveswingfeel,captivatingmelodies,andcoolchordprogressions,BrazilianJazzisone
ofthefirstgenresthatguitaristsexploreoutsideofBebop.

Withalonglineageofworldclassplayers,suchasLaurindoAlmeida,BadenPowell,Raphael
Rabello,andToninhoHorta,guitaristshaveplayedabigroleinthedevelopmentofBrazilianJazz.

Itsfromtherecordingsofthesegreatplayersthatyoucanlearntobuildyourownrepertoireof
BrazilianJazzrhythms,chordvoicings,andsoloinglines.

ThoughmanyguitaristsenjoyplayingandlisteningtoBrazilianJazz,itsoftenthecasethatwhenit
comestimetojamaBossaorSambatune,youendupfakingacompingpatterninyourplaying.

TohelpbringanauthenticBraziliansoundtoyournextjamsessionorgig,thislessonwillexplorea
varietyofessentialBrazilianJazzchordpatterns.

Aswell,therearearpeggiopatterns,scalepatterns,andBrazilianJazzlicksthatyoucanaddtoyour
soloingvocabulary.

WhetheryouwanttocompalaidbackBossaNovasong,orsolointhestyleofyourfavoriteBrazilian
Jazzguitarist,thematerialbelowwillhelpyoureachyourmusicalgoals.

FreeJazzGuitareBook:DownloadafreeJazzguitarPDFthatllteachyouhowtoplayJazz
chordprogressions,solooverJazzchords,andwalkbasslines.

Brazilian Jazz guitar Contents (Click to Skip Down)


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Introduction

BossaNovavs.SambaRhythms

EssentialBrazilianJazzSongs

Brazilian Jazz Rhythm Guitar


BrazilianJazzChordsIntro

BossaNovaRhythm1

BossaNovaRhythm2

BossaNovaRhythm3

SambaRhythm1

SambaRhythm2

PartidoAlto

Brazilian Jazz Guitar Soloing


BrazilianJazzSoloingIntro

10BrazilianJazzGuitarArpeggioPatterns

10BrazilianJazzGuitarScalePatterns

10BrazilianJazzGuitarLicks

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Bossa Nova vs. Samba Rhythms


Beforeyouplaytheexamplesbelow,justaquicknoteabouttheterminology.

WhenlivinginBrazil,mymusicianfriendsreferredtoalloftheserhythmsasSambarhythms.

TheBossaNovarhythmswereslowSambaandtheSambarhythmswerefastSamba.

TheyacknowledgedthatBossaNovawasamusicalgenre,butitwasconsideredmoreAmerican,
andSambawasBrazilian.

WhenjammingBrazilianJazztunes,alloftheserhythmswereused,buttheywereallcalledSamba,
whereasinothercountriestheyreoftenseparatedintoBossaNovaandSambarhythms.

Nomatterwhichterminologyyoudecidetouse,knowthatyoucanuseanyofthesecompingpatterns
overBrazilianJazztunes.

Bossarhythmswillbemoreeffectiveoverslowertunes,andtheSambarhythmsoverfasterBrazilian
Jazztunes.

Essential Brazilian Jazz Songs


IfyourenewtoBrazilianJazz,orarentsurewheretostartwithlearningtunes,hereare20Brazilian
Jazzsongsthatyoucanuseasareferencelistinyourstudies.

Ifyoudontknowwheretobegininyourtunestudy,startwiththesongsthatyourecognize,suchas
GirlfromIpanema,thenmoveontonewersongsfromthere.

Makesuretolistentoeachsongbeforeyoulearnit,asthatllgiveyoucluesastowhichcomping
rhythmswillbemostappropriate,tempo,andothermusicalelementsforeachsong.

AguadeBeber

AguasdeMarco

Berimbau

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CantodeOssanha

ChegadeSaudade

Corcovado

CravoeCanela

Deixa

Desafinado

HowInsensitive

InfluenciadoJazz

JazzandSamba

OBarquinho

OMorroNaoTemVez

OPato

OnceILoved

OneNoteSamba

SummerSamba

TheGirlFromIpanema

Wave

EachoftheBrazilianguitarchordsandrhythmsthatyoulllearnbelowcanbeusedoveranyofthese
songs.

RefertothenoteintheBrazilianJazzguitarchordssectionaboutchoosingtherightrhythmforany
Braziliansongyourejammingover.

Brazilian Jazz Guitar Chords


ThemajorityofyourtimespentplayingBrazilianJazzwillbecompingchordsbehindamelodyline,or
othersoloists.

Becauseofthis,havingastrongsenseofauthenticBrazilianrhythmswillhelpnailBossaandSamba
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tunesinyourjamsessions.

Eachoftherhythmsbelowispresentedoveraonechordvamp,thefirstfourbarstoOBarquinho,
andtheentire16barformofthetune.

BylearningthesedifferentBossaandSambarhythms,youllensurethatyoureabletoconfidently
compinanyBrazilianJazzsituation.

Asyoullsee,therearesomerhythmsthatstartontheupbeat,andothersthatstartonthedownbeat.

ThekeytoplayingBrazilianJazzchordsistoknowwhentouseeachrhythminyourplaying.

WhenlivinginBrazil,themusiciansIperformedwithalwaystoldmetoletthemelodyofatuneguide
myrhythmicchoices.

So,ifthemelodyusesalotofupbeatsatthestartofthebar,useacompingrhythmthatalsohasup
beatsatthestartofthebar.

Ifthemelodyhasmoredownbeatsinthefirsthalfofthebar,usearhythmthathasmoredownbeats
atthestartofthebar.

Thatmightbeeasiersaidthandone.

But,withtimeandafterstudyingbothmelodiesandrhythms,youllbegintobeabletomaketheright
rhythmicchoicesoverBrazilianJazztunes.

Aswell,inBrazil,leadsheetsormostlywrittenin2/4time,whileinothercountriestheyrewrittenin
4/4time.

BecausetheRealBookandotherrelatedfakebooksuse4/4time,theexamplesinthislessonare
writtenin4/4.

Ifyouwanttotranslatethatinto2/4time,youcanjustplayeachrhythmathalfthewrittenspeed.

HeresanexampleofthatapproachoveraCmaj7compingpattern.

Thequarterand8thnotesinthefirsttwobarsarethentranslatedto8thand16thnotesinthe2/4
barstoallowthesamechordstofitoverbothtimesignatures.

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Whentranslatingrhythmsfrom4/4to2/4,youcanusethischartasaguidetohelpyouplaythe
correctrhythms.

WholeNotesbecomeHalfNotes

HalfNotesbecomeQuarterNotes

QuarterNotesbecome8thNotes

8thNotesbecome16thnotes

YourenowreadytobeginyourstudiesofBrazilianJazzguitarchords.

Startwiththefirstrhythm,nomatterwhereyouskiptofromthere.

Thisfirstrhythmisgoingtobethefoundationforallrhythmsthatfollow.

So,ifyoucanplaythefirstrhythmthenyoullbeabletousethatpatterntobuildtherestofthe
examplesinthelessonbelow.

But,ifyouskipthefirstrhythminyourstudies,youmightbeconfusedastowhyandhowother
rhythmsarebuiltinthislesson.

Lastly,youllnoticealotof6,9,6/9,andotherchordsbeingusedinplaceofthewrittenchord
changes.

ThisisbecauseinBrazilianJazz,playersoftenprefertousethesofter6and9basedchords,as
opposedtomaj7or7thchordsthatyoufindinJazz.

PlayingauthenticBrazilianJazzmeanslearningtherhythms,butalsothechordvoicings,somake
suretocheckouttheshapesbeingusedaswellastherhythmicpatternsineachexample.

Bossa Nova Rhythm 1


AfavoriteofJoaoGilberto,andusedoverslowerBrazilianJazzsongs,thisBossaNovarhythmisthe
perfectintroductiontothegenreforthosethatarenewtoSambacomping.

Aswasmentioned,thisfirstBossarhythmwillactasthefoundationforeverythingyoudomoving
forward.

Forthatreason,youllbreakitdowntoitssmallestconcepts,andthenbuilditbackupagain.

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Intheprocessyoulllearnfundamentalguitarskillsthatllmakeeachsubsequentrhythmeasierto
learninyourpracticeroutine.

Thefirstitemtopracticeisgettingyourthumbtoplaytherootnotefortheunderlyingchordonbeats
1and3ofthebar.

Whendoingso,youwanttogetthisbassnotetobeautomatic,asitllactasthefoundationforeach
chordthatyouapplyoverthebassnotesinyourcomping.

Youllnoticethattherootnoteisusedforeachbassnoteinthis,andallexamples,inthislesson.

WhenplayingBrazilianJazzguitar,youcanplaytherootforeachbassnote,ratherthanalternating
therootand5thasyouwouldinotherLatinmusicalgenres.

Someplayersprefertousetherootand5thinthebass,butitsnotnecessaryandmoreoftenthan
notcaninterferewiththebassplayerwhenjamminginacombosetting.

HeresanexampleofthetonicbassnoterhythmoveraCmaj7chord.

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Onceyouhavethebassnotesunderyourfingers,yourereadytoaddyourfirstchordonbeatoneof
eachbar.

Whendoingso,makesuretokeepboththebassnotesanddownbeatchordquietinyourcomping.

AccentsareextremelyimportantinBrazilianJazzcomping,andsokeepingthesenotesandchords
quietwillmakeiteasiertoaddlouderchordslaterwhenappropriate.

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Movingon,youllnowplaythetopthreenotesofthechordonbeat2ofeachmeasure.

Again,keepallofthesechordsandbassnotesquietinyourplaying,noaccentsareaddedyettothe
compingpattern.

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YoullfinishthisfirstBossachordrhythmbyaddingachordonthe&of3ineachbar.

Thisllbeyourfirstaccentedchord,whereyoullplaythe&of3chordslightlylouderthantheother
chordsandbassnotesintherhythm.

Goslowwiththisrhythm,useametronome,andonlytakeittothesongexamplebelowwhenready.

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TohelpyouhearandplaythisBossarhythminamusicalsituation,herestheBossaNovarhythm1
appliedtothechordprogressiontotheBrazilianstandardOBarquinho.

Feelfreetolearneachfourbarsectiononeatatime,andthenconnectthemtogetherwhenyoure
comfortabletoformthetuneasawhole.

Aswell,forthisandallchordexamplesinthislesson,theresabackingtrack(bassanddrums)that
youcanusetopracticewithinyourstudies.

OBarquinhoBackingTrack Vm P

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Bossa Nova Rhythm 2


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YourenowreadytomoveontothemorecomplexBossarhythms,asyoullseeinthenextexample.

Evenifthefirstexamplewaseasyforyoutogetdown,thisrhythmmighttakesometimetolearn.

So,dontfeellikeyouhavetorushit.

Takeyourtime,andreallyfocusontheanticipatedchordbeforeincreasingthetempoinyourstudies.

TheonlydifferencebetweenthefirstandsecondBossarhythms,istheadditionofthechordonthe&
of4ineachbar.

Thischordisthentiedovertothedownbeatofthesecondbar.

Thatmeansthat,afteryouplaytheinitialdownbeat,youllneverplayachordonthedownbeatof
anotherchordwiththisrhythm.

HeresanexampleofthatrhythmoverastaticCmaj7chordtogetyoustarted.

Noticethatthe&of3andthe&of4arebothaccentedinthisexample,withallotherchordsandbass
notesplayedquietly.

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Onceyourecomfortablewiththisrhythmoverastaticchord,yourereadytomoveontoapplyingitto
achordprogressioninyourguitarpracticeroutine.

Hereswherethingsbecomedifficultformostplayers.

Whenyouplaythechordonthe&of4,youllanticipatethenextchordintheprogressionwiththat
chord.

Thismeansplayingthetop3notesofthenextchordbeforethatchordandbassnotearrivesinthe
music.

ThisanticipationisanessentialelementwhenplayingBrazilianJazzguitar,butitcanhandcuffyouif
yourenotreadytotackleitinyourplaying.

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So,giveitatry,andifyoufinditverydifficult,gobackandworkthestaticCmaj7chordexampleuntil
yourereadytotrythisprogressionagain.

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Tofinishyourstudyofthisrhythm,heresthatnewBossarhythmappliedtothechordprogressionto
OBarquinho.

Again,watchtheanticipatedchords,astheyrenowusedovereverybarinthetune,resultinginalot
ofconcentrationneededtomakeitthroughthewhole16barforminyourcomping.

OBarquinhoBackingTrack Vm P

Clicktohear Vm P

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Bossa Nova Rhythm 3


InthisfinalBossaNovarhythm,youllreversethepreviousrhythminyourcomping.

Before,youwereplayingtwodownbeatsinthefirsthalfofthebar,followedbytwoupbeatsinthe
secondhalfofthebar.

Now,youllreversethatprocessbyplayingtwoupbeatsfollowedbytwodownbeats.

Insomeways,thisrhythmiseasierthanthepreviousexample,asyourenotanticipatingthe
subsequentchordswiththisrhythm.

Clicktohear Vm P

YoullnowapplythislastBossarhythmtothefirstfourbarsofOBarquinho.

Thoughitsabiteasierthanthepreviousrhythm,movingtheaccentstothefirsthalfofthebargivesit
auniquefeelwhenappliedtoBrazilianJazzsongs.

Clicktohear Vm P

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Inthisfinalexample,youllapplythethirdBossaNovarhythmtothefullOBarquinhochord
progression.

Asyoureworkingthroughthis,oranyrhythm,inthislesson,feelfreetoapplyittoanyBrazilianJazz
songthatyourepracticing.

OBarquinhoBackingTrack Vm P

Clicktohear Vm P

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Samba Rhythm 1

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MovingontothefasterBrazilianJazzrhythms,thisfirstSambarhythmcombinestwopatternsthat
youvelearnedpreviously.

Intheexamplesbelow,youllplaythesecondBossarhythminthefirstbar,followedbythethird
Bossarhythminthesecondbar,repeatingthattwobarpatternfromthere.

Ashasbeenthecaseineachexamplesofar,youllaccenttheupbeats,sothesecondhalfofthefirst
barandthefirsthalfofthesecondbar.

Thoughitsacombinationofpreviouslylearnedmaterial,whichishelpful,itcanalsotaketimetoget
thisnewrhythmunderyourfingers.

Goso,thenincreasethetempoovertimeasyoubecomemorecomfortablewiththispatterninyour
comping.

Clicktohear Vm P

HeresanexampleofthefirstSambarhythmasappliedtotheopeningfourbarsofOBarquinho.

Clicktohear Vm P


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Lastly,heresthesamerhythmusedtocompoverthewholeOBarquinhochordprogression.

Again,ifithelps,breakdownthischordstudyintofourbarsections,workingitupfromthatstarting
point.

OBarquinhoBackingTrack Vm P

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Samba Rhythm 2
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ThesecondSambarhythmisareverseofthecompingpatternthatyoujustlearned.

Inthiscase,youllplaytheBossa3rhythmfollowedbytheBossa2rhythminthesecondmeasure,
repeatingthattwobarpatternfromthere.

WatchthatyoudontflipthispatternyourcompingoverBrazilianJazzsongs.

Itseasytoflipbacktothepreviousrhythm,especiallywhenpracticingwithametronome.

So,usebackingtrackwhenpossiblesothatyourearswillhelpyoukeepthisrhythmlockedintothe
correctpartoftheform.

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Movingon,heresthesecondSambarhythmasappliedtothefirstfourbarsofOBarquinho.

NoticethatyourenowanticipatingtheBm7chordinbarthreeoftheprogression.

Youshouldbecomfortablewithanticipatingchordsatthisstageinyourdevelopment.

But,ifitsstillgivingyoutrouble,makesuretobecomecomfortablewiththisnextexamplebefore
movingontothefullsongstudybelow.

Clicktohear Vm P

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TofinishyourstudyoftheSamba2rhythm,heresthefullOBarquinhoformwiththatrhythmapplied
toeachchordintheprogression.

Watchtheanticipationbetweeneachtwobarrhythmicphrase,andslowthingsdownwitha
metronomeifneededtoperfectthisrhythminyourplaying.

OBarquinhoBackingTrack Vm P

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Partido Alto
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ThefinalBrazilianJazzchordrhythminthislessoniscalledthePartidoAlto.

Thisrhythmusesaccentedupbeats,andtherellbeananticipationbetweeneachtwobarpatternas
youtakeittomovingchordprogressionsbelow.

Noticethatthefirsthalfofthefirstbarnowfeaturesonlyonechord,onthe&of1,asopposedtothe
twochordsyouveseenuptothispointinthelesson.

Holdingthatchord,notcuttingitshort,willgiveyouthatsmooth,Brazilianswingthatischaracteristic
ofBrazilianJazzguitar.

Clicktohear Vm P

HeresthePartidoAltorhythmappliedtothefirstfourbarsofOBarquinho.

Aswasmentionedearlier,youllneedtoanticipatethenextchordattheendofeachtwobarrhythmic
pattern.

Youcanseethatanticipationbeingusedattheendofthesecondbarinthisexample.

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Lastly,heresthePartidoAltorhythmappliedtothefullOBarquinhochordprogression.

Asalways,goslow,breakitdowntosmallerchunksifneeded,thenbuildupthefullchordstudyfrom
there.

OBarquinhoBackingTrack Vm P

Clicktohear Vm P

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Brazilian Jazz Guitar Soloing


WhilemanylessonsandbooksfocusonBrazilianJazzrhythmplaying,theresalottolearnandgain
fromstudyingthesoloingsidetothisgreatmusicalgenre.

Tohelpyouexpandyourguitarsoloingchops,aswellasdigintotheleadplayingsideofBrazilian
Jazz,youllnowlearnarpeggioandscalepatterns,aswellasBrazilianlicksoverpopularchord
progressions.

Theexamplesarewritteninonekey,sofeelfreetopracticethemaroundthefretboardinmultiple
keysinyourstudies.

Aswell,anyarpeggioandscalepatterncanbeusedtobuildyourguitartechnique,buttheycanalso
beusedinyoursoloinglinesandphrases.

So,afterlearninganytechnicalpatterninthissection,putonabackingtrackandjamoverthose
chordswhileaddingthearpeggioorscalepatterntoyoursolos.

ThesepatternsandlickscomefromSamba,andChorosongsandsolos,bothgenresofwhichhave
contributedgreatlytotheBrazilianJazzvocabulary.

Brazilian Jazz Guitar Arpeggio Patterns


Tobegin,youlllearnadescendingarpeggiopatternoverCmaj7.

Eachoftheexamplesinthissectioniswrittenoveronetypeofarpeggiotogetyoustarted.

So,afteryouvelearnedhowtoplaytheseexamplesoveronearpeggio,takeitfurtherbyapplyingto
otheressentialJazzarpeggiosinyourstudies.

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Intheascendingarpeggiopattern,youllapproachthefirstchordtonebyadiatonicnoteabovethat
tone.

YoucanseethiswiththeDCnotesatthestartofthepattern.

Fromthere,youclimbuptwoarpeggiotonesbeforerepeatingthepatternfromthere.

Clicktohear Vm P

Heresareversalofthepreviouspattern,whereyoullapproachthefirstchordtonebyadiatonicnote
above,followedbytwochordtonesbeforerepeatingthatpatterndowntheshape.

Clicktohear Vm P

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Youllnowaddinthediatonicapproachnotebeforethelastarpeggionoteineachfournotegrouping.

YoullseethiswiththeAGnotesinthefirstfournotegroup,repeatingitupthearpeggiofromthat
startingpoint.

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Here,youllplaythearpeggionote,thenalowerneighbortone,followedbytheoriginalarpeggionote.

ThispatternisalsocommonlyusedinJazzandGypsyJazzguitar,andsoitsanimportantpatternfor
guitaristsstudyingallstylesofJazzinyourplaying.

Clicktohear Vm P

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Heresanarpeggiopatternthatfeaturesanapproachnotebeloweachnoteinthearpeggio.

Noticethatthepatternstartsonthe&of1,asthefirstdownbeatisarest.

ThisisacommonrhythmicapproachtoplayingsinglelinesinBrazilianJazz,andithelpsplacethe
chromaticnotesinappropriateplacesinthebartobringouttheBraziliansoundinyourlines.

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Inthisnextpattern,youllplayadiatonicnoteabovethefirstarpeggionote,thenthearpeggionote,
followedbyanapproachnoteintothenextarpeggionote.

Thiscombinationpatternsoundsgreat,butcanbetoughtoapplyfromatechnicalstandpoint.

So,workthispatternwithoutanytimeatfirst,thenbringittoametronomewhenyourereadytobring
tempointotheequation.

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Heresamorecomplicatedpattern,frombotharhythmicandnotestandpoint,thatyoucanaddto
yourguitarpracticeroutine.

Thispatternmoreresemblesalickthanapracticepattern,makingitagreatlinetostudyasyoucan
easilytransportitintoyourBrazilianJazzguitarsolos.

Clicktohear Vm P

Heresabusierpatternthatfeatureschromaticnotesonthesecond8thnoteanddiatonicapproach
notesonthethird8thnoteofeachfournotegrouping.

Goslowwiththispattern,asitllalsobeanimportantadditiontoyoursoloingvocabularyaswellas
helpyoubuildyourarpeggiochopsinthewoodshed.

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Thisfinalarpeggiopatternbeginsonthe&of1,workingchromaticanddiatonicapproachnotesinto
thepatternfromthatstartingpoint.

Again,becausethispatternismoreinvolved,takeyourtimeandgoslow,bringingthetempoupwhen
yourecomfortableinyourroutine.

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Brazilian Jazz Guitar Scale Patterns


YoullnowmoveontostudyingpopularBrazilianscalepatternsinyourpracticeroutine.

ThesepatternsareallwrittenoveraCmajorscale,sofeelfreetotakethemtootheressentialJazz
scalesinyourstudies.

Youcanalsomovethemtootherkeysasyouexpanduponeachpatterninyourplaying.

ThefirstBrazilianJazzscalepatternisanascendingpatternthatbeginswiththreepickupnotesin
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thefirstbar.

Fromthere,theresafournotegroupingthatisplayedupfromeachnoteinthescale.

Whendoingso,youreendingeachfournotegrouponthestrongbeatsofthebar,1and3.

Then,yourebeginningthepatternonthe&of1and3,weakerbeats,whichiscommonlyusedin
Braziliansinglenotemelodies.

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Here,youllbestartingonthe&of1,thenclimbinguptheentirescalefromthere,resolvingtothe
downbeatofthenextmeasure.

Youllrepeatthispatternfromeachnoteinthescaleasyouworkyourwayupthefingeringfromthat
startingpoint.

Thisisalongervariationofthefirstscalepattern,andagain,isatechniquethatscommonlyusedin
BrazilianJazzguitar.

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Afterthecharacteristicthreenoteleadin,thispatternthenjumpsupathird,beforereturningtothe
startingnoteineachfournotegrouping.

Thatpatternisthenrepeatedfromeachscaletoneasyoudescendthroughthescaleshapefrom
there.

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Heresareversalofthelongerpatternyoulearnedearlier,asyourenowdescendingtheentirescale
fromeachnote,beginningonthe&of1ineachbarasyougo.

Ifyouwanttoextendthispattern,youcancombineitwiththeascendingversioninyourstudiesas
youplaybothascendinganddescendingversionstogether.


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Movingon,youllnowplaythreeascendingnotes(firstinversiontriads)beforedescendingthescale
fromthere.

Eachpatternisafullbarlong,andyoullrepeatitfromeachnoteinthescalebeforehittingthelower
rootnoteonthe6thstring.

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Inthisvariationofthefulloctavedescendingpattern,youllnowbringabitofrhythmicsyncopation
intothemix.

Makesuretorestonbeat2,notjustholdthefirstnoteover,asthiswillbringtheBrazilianswinginto
thispatternandyoursinglenotesolosfromhere.

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Afterplayingathreenoteintroduction,thispatternisafournotegroupingthatdescendstheentire
scale.

Usingthreenoteslikethistosetupthefullpatternisaneffectivewaytobeginthepatternonan
upbeatinyourguitarpracticing.

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Heresanothersyncopatedpatternthatyoucanpracticeandaddtoyoursoloinglinesandphrases.

Again,makesuretoplaythefirstnoteshortineachbar,whichaccentsthatnoteandhighlightsthe
restsbeforeandafterinyourplaying.

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ThenextBrazilianscalepatternusestiestokeepthepatternontheupbeatsasyouprogressupthe
scale.

Thispatternisalsoreferredtoasadiatonicenclosure,asyoureplayingonenoteabove,thenone
notebelow,beforelandingonyourtargetscalenote.

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Thefinalscalepatternrunsdiatonictriadsthroughthefingeringasyoudescendthescalepatternon
thefretboard.

Aswell,youreplayingtheroot35rootnotesinatypicalBrazilianstyle.

ThistriadpatternisalsopopularinJazzimprovisation,andsoitllmakeastrongadditiontoyour
vocabularyinanysoloinggenre.

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Brazilian Jazz Guitar Licks


TofinishyourstudyofBrazilianJazzguitarsoloing,hereare10licksthatcomefromtheBrazilian
Jazztradition.

Eachlickisplayedoverapopularchordprogression,andusescommontechniquesfoundinthe
solosofBrazilianJazzguitarists.

AfterlearninganyoftheseBrazilianJazzguitarlicks,takeittootherkeys,aswellasuseitinyour
solostotakeitfurtherinyourstudies.

ThefirstlickusesarpeggiostooutlinethefirsttwochordsinaiiVIprogressioninF.

Fromthere,youllnoticetheb9intervalsoverC7,whicharebroughtoutbyusingaDbdim7arpeggio
inthatbar.

ThelastbarfeaturesatypicalChoroapproachnotepatterntohighlighttherootand6thoftheFmaj7
chord.

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InthisshortminoriiVIline,youllseeatypicalrhythmusedovertheA7altchordinthesecondhalfof
thefirstbar.

Mixing8thand16thnotesistypicalinBrazilianJazz,andissomethingyoucanstudyfurtherinyour
technicalandimprovisationalpracticeroutine.

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ThisiiVIlickbeginswithatypicalBrazilianscalepattern,followedbyoctavedisplacementbeing
usedinthesecondbaroftheline.

Here,youllseethenoteEjumpuptoaDonthethirdbeatofthesecondbar.

Thisiscalledoctavedisplacement,asyourecontinuingthescaledown,EtoD,buttheDisan
octavehighertoavoidrunningoutofroomontheguitar.

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ThisnextBrazilianJazzlickisinthestyleofHermetoPascoal,andasimilarlinecanbefoundinhis
songChorinhoPraEle.

Thislineusesadominantcyclesubtocreatetensionoverthefirstthreebarsofthephrase.

ThistensionisthenresolvedtothetonicnoteFinthelastbar.

DominantcyclesarecommonsubsinallgenresofJazz,andsotheyreimportanttostudyinyour
soloingpracticeroutine.

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AnotherHermetoPascoalinfluencedlick,thisphraseusesthemaj7intervaloverGm7,F#,aswellas
afulldescendingCMixolydianscaleinthesecondbar.

WhileinJazzyoureoftentoldtoavoidrunningfullscalesinyourlines,inBrazilianJazzthisapproach
iscommonlyused,asyoucanseeinthisexample.

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HeresahighlysyncopatedminoriiVIlickthatyoucanaddtoyoursoloingvocabulary.

Thoughthenotesarestraightforward,gettingthesyncopationunderyourfingerswilltakepractice.

Feelfreetocountthislineoutinyourpracticingatfirst,thenplayitbyhearingtherhythmswhenthat
approachiscomfortable.

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Inthisarpeggiobasedlick,youllseeaD9chordusedasasecondarydominantsubinbaroneofthe
phrase.

Wheneveryouhaveiim7V7chords,youcanalwaysplayII7V7astheII7istheV7ofV7inthiscase.

UsingsecondarydominantsubsiscommoninBrazilianJazz,andallstylesofJazzguitar.

Becauseofitspopularity,workingthissubinyourstudiesisessentialpracticingforanyJazz
guitarist.

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HeresadescendingBrazilianJazzguitarlickthatusestheCwholetonescaletooutlinetheiim7V7
chords.

Creatingtensionoveriim7V7chordsispopularinBrazilianJazz,asitisinallstylesofJazz,andthe
wholetonescaleisagreatwaytoaccomplishthisinyourplaying.

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ThisarpeggiobasedminoriiVIusestheEdim7arpeggiotobringouttheA7b9soundinthesecond
halfofthefirstbar.

Playingiim7b5iidim7overminoriiVprogressionisanimportantwaytooutlineminorkeychord
progressions.

ThisconceptiscommonlyusedinBrazilianJazz,andotherJazzstyles,andshouldbepracticed
furtherinyourstudies.

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InthisfinalBrazilianguitarlick,inspiredbythegreatguitaristBolaSete,youreusingminorarpeggios
tocreateasenseoftensionandresolutionovertheprogression.

Movingarpeggiosaroundinthismanner,suchastheBbm7Am7shapes,isagreatwaytocreate
tensionandresolutioninyoursolos.

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