Partido Alto - #1

From Digging Deeper Video #74

Partido Alto is a rhythm from Brazil, and is a big part of many Samba styles. We see it
in percussion parts, in melodic passages, and in comping rhythms in everything from
snare drum to piano to guitar to horn backgrounds. In short, you sound pretty legit when
you play this rhythm. So, let's get you sounding legit!

Like so many West African rhythms, or rhythms derived from West African roots, this
rhythm is two measures long, and has a sort of "call and response" sound built right in
to it. Since it comes from the percussion language, we generally hear it played (on all
instruments) very marcato, or detached, or staccato, mimicing the percussive instruments
that most typically play it.

Samba is felt in "two," so be tapping your foot (or have the metronome click) on beats 1
and 3, to get the feel we are looking for. Any tempo works, but tempos where the half note
is between 80 - 100 (metronome setting of 160 - 200) is where this will sound most natural.

#1 - Partido Alto
^ ^ ‰ ^ ^ ‰ ^™ ^ ^ ‰ ^ ^ ‰ ^™
& ? ? ? ?J ? ? ? ? ? ? ?J ? ? ?
^ ^ ^ ^

#2 - Major Scale
^ ‰ ^ ^j ‰ ^ ^ œ^ ^œ œ^ ‰ ^ ^j ‰ ^ ^ ^
& ^ œ™ œ œ œ ^ Œ Ó
œ œ œ œ œ™ œ œ œ

#3 - Dominant b5/#11 Arpeggio

C7 F7 ^ ^ B¨7 ^ ^
& œ^ œ ‰#œ b œJ^ ‰b œ ™ œ œ^ œ œ ‰nœ^ J ‰nœ^ ™ œ œ b œ^ ‰ J ‰
^ ^ ^ ^ ^ b ^
œ ^ ^
œ ^
œ b œ œ™ œ^ b œ^

© Atonal Licks Music • Jeff Antoniuk

DiggingDeeperJazz@gmail.com
 Reverse Partido Alto - #2
From Digging Deeper Video #75

If you haven't yet, look at Digging Deeper Jazz video #74, the previous video. There
we talked about the Partido Alto rhythm. It's the best place to start, and will give this
discussion of Reverse Partido Alto a bit more perspective. You'll also likely be more
successful in playing this material if you start back there.

As pointed out in the previous video #74, many rhythms derived from West African
roots, like this rhythm, are two measures long. The "3 - 2 Clave" is another great
example of a two-measure long rhythmic pattern with West African roots. It turns out
that in many of these patterns, we can start with the second measure first, and put the
first measue second. That is how we get the "2 - 3 Clave" pattern . . . by flipping around
the "3 - 2 Clave." And that is exactly how we get "Reverse Partido Alto."

#1 - Reverse Partido Alto

& ‰ ?™ ? ? ? ? ‰ ? ?J ‰ ? ™ ? ? ? ? ‰ ? ?J
^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^

#2 - Major Scale in Reverse Partido Alto

^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^
& ‰ ^™ œ œ ^
œ œ ‰ œ œJ ‰ œ™ ^
œ œ œ œ ‰ œ œj ‰ j Œ Ó
œ œ

#3 - Dominant b5/#11 Arpeggio

C7 F7^ ^ ^ B¨7 ^ ^
œ^ ‰ œ œj ‰b œ^ ™ œ
^ ^ ^ ^ b ^
œ ^ ^ nœ^ b œ œ ‰ œ^ b œ^
& ‰ œ^ ™ œ #œ b œ^ #œ ‰ œ œ^j ‰nœ ™ œ nœ^ J

© Atonal Licks Music • Jeff Antoniuk

DiggingDeeperJazz@gmail.com
 Foundtional Brazilian Rhythms
#1 - Two measure pattern
°™ -^ ^ ^ ^ ^ ^ ^ -^ ^ ^ ^ ^ ^ ^ ™ ü
& 44 ™ ? ?
¢ ?J ? ?J ?J ? ?J ?J ? J J ?
‰ ? ? ? ? ? ? ?
?J ? J J J J J J ? ? ‰ ™ †
This pattern "resets on beat one" every two measures

° ™ -j ^ œ^ œ œ^ œ^ œ œ^ #œ^ œ œ^ ‰ -œJ #œ^ œ^ œ œ^ œ^ œ œ^ ^j j ^ j ™ ü

&¢ ™œ œ J J J J J J J J J J œ œ œ œ ™†

#2 - Four measure pattern

° ™™ ?- ?^ ?^ ? ?^ ?^ ? ?^ ?^ ? ?^ ?^ ? ?^ ?^ ? ?^ ?^ ? ?^ ? U ™™ ü
&¢ J J J J J J J J J J J J J J †
This pattern "resets on beat one" every four measures

° ™ -j ^ ^ œ^ œ^ œ œ^ #œ^ œ œ^ œ^ œ œ^ œ^ œ œ^ ^ ^ j
™™ ü
& ¢ ™ œ œ œJ œJ J J J J J J J J œ œœ œ ˙
J J †

#3 - Axé Type Rhythm

° ™™ ?- ?^ ‰ ?^ ?- ?^ ‰ ?^ ?- ?^ ‰ ?^ ?- ?^ ‰ ?^ ?- ?^ ‰ ?^ ?- ?^ ‰ ?^ ?- ?^ ‰ ?^ ?- ?^ ‰ ?^ ™™ ü
&¢ J J J J J J J J †

° - ^ ^j - ^ ^ - ^ ^ - ^ œ^ -œ œ^ ^ - ^ ^ - ^ ^j - ^ ^j ü
™™ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ J
&¢ J ‰ œJ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ ™™ †
J J

© Atonal Licks Music • 11/2020

Jeff Antoniuk • DiggingDeeperJazz@gmail.com
 Tenor/Trumpet A. C. Jobim

So Danco Samba
A
D% G9 E9
œ œ œ œ™
## 4 j œ œ œ œ j œ Œ œ nœ œ œ œ ˙ Œ ‰ œj
& 4 œ œ œ
J J 3 3

˙™
E‹9 A9 D% G7
œ œ œJ œ ™
## œ j
& œ œ œJ œ œ œ Œ ∑

A D% G9 E9
œ œ œ œ œ™
## j œ nœ œ œ j
& œ œ œ œ œ œ Œ œ ˙ Œ ‰ œ
J J 3 3

˙™
E‹9 A9 D%
œ œ œJ œ ™
## j
& œ œ œ œJ œ œ œ Œ ∑

B A‹7 D7 GŒ„Š7
## j j j œ œ œ #œj œj œ j Ó
& œ œ œ œ œ J J œ w ˙

B‹7 E7 A7 A7(#5)
## j Œ Œ ‰ œj
& œ œ œj ˙ œ nœ œ œ
J J œ œ œ œ œ œ œ œ œ
A D% G9 E9
# j Œ œ nœ œ œ œ ˙ Œ ‰ œj
& #œ œ œ œ ‰ œ œ œ œ œ Œ Ó
3 3

˙™
E‹9 A9 D% G7
œ œ œJ œ ™
## j
& œ œ œ œJ œ œ œ Œ ∑