Ea ed In the late 1950s ond eorly 60's, @ group of young composers including Antonio Carlos Jobim, Jo80 Gilberto, Jehnny Alf, Jodo Donato, Carlos lira, Marcos Valle, Dori Caymmi, Baden Powell and many others began to write and play in a new sie called bossa nova. i é a FI a iS f é i The thythm of the bossa nova is derived from sombo. Ths first patern is probably the best-known bossa nova pattern. The right hand plays on the hihat ond the let hand plays a crossstick patern on the snare drum. The bass drum patter i the same as in the samba patterns, but played ata slower tempo. Exercise 1 Bossa nove pattem #1 Now we will reverse the measures. Asin samba, the choice of which way to play the pattern is based on the phrasing of the melody. Exercise 2 Bossa nova pattem #2 | ‘We can play the tamborim pattern that we used in snore drum pattern 2, wit the cross-sfck Note: You can also ry this pattern reversed, by simply starting with the second measure. Exercise 3. Bossa nova pattern #3—Tamberim Figure on snare drum rim (cross-ick)This bossa nova pattern Features the partido alto rhythm (with crosssick, cand is ofen played in the accompanying guitar part. Exercite 4 Bossa nova pattem #4—Emphasizing partido alto igure ‘One-bar phrases can also work well in the bossa nova style. Exercise 5. One-bar phrases for bossa nova Photo counesy of Elberto Mendes Exomple #1 cee = Antonio Carlos Jobim Exomple #2 Exomple #3 — — This chythm is also @ one:bar pattern with a ‘As we saw in the samba section, the hi-hat can be opened crossstck on the last sixteenth-nole of beat 1 on the second sixteenth-nate of each beat Exercise #6 Bossa nova pattern #5 Exercise 7 Hi-hat pattern #2—With first bossa nova pattern #1 ‘The tope cue mistakenly says “Exercise 6” ° ° 2 ° The hi-hat can be opened on beat 2 (low surdo note) along with a bass drum accent, as in the samba patterns. Exercise 8 Opening the hi-hat on the low surdo note