Chords for Samba rhythms taught by Rick Udler (Part 1 of 2)
Tempo:
123.75 bpm
Chords used:
A
E
F#
Bm
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Okay, we were discussing rhythms earlier, and I showed Bossa Nova I and II, which is
the basic rhythm, and then its second measure, which is used so often.
Now Bossa Nova and samba are close cousins.
I guess an analogy would be, one could think of rock and roll as having come from the blues,
and Bossa Nova certainly comes from samba.
Many think of it as a more jazzified samba.
It's cooler, it's got those richer harmonies that many times are very similar to the harmonies
that are used in jazz.
Now modern samba also uses a lot of those, so sometimes it's really hard to know the
difference if you're listening to samba or Bossa Nova.
They're so close nowadays in modern Brazilian music.
But one way you can think of, samba tends to be a bit more driving.
Here's an example.
You can take a jazzy chord, [A] C6-9, but say a sambaista, someone who plays samba might
play it like, there's a lot of push there, almost aggressive, and maybe a Bossa Nova
person would play it,
[Am]
or with a [A] full treatment.
So those are some [Am] examples.
I'd like to [A] talk a little bit about samba rhythms, starting off with something more
traditional, which is what we call a 1-6-2-5 progression, using very simple chords, A,
[F#] F sharp [Bm] 7, B [E] minor 7, and E7.
If we were to [G] play it as it was played maybe 50, 60, [E] 70 years ago, it might sound [A] something like
[F#]
[Bm] [E]
[A]
[F#]
[Bm] [E]
[A] Okay, so [N] let's discuss what's happening there.
First of all, it's kind of got a march feel to it, you may have noticed.
In the early days of samba, there were a lot of what they called marchas, march sambas,
which were used a lot in the samba schools.
So you can feel that march feel to it.
What is [A] happening here, in the right hand, in the left hand we already saw what's going on.
In the right hand we've got together, the thumb and the three fingers, we've got together,
three fingers, thumb, three fingers, thumb, three fingers, three fingers, thumb, three fingers.
Let me show you that in context.
Together three, [Bm] oh, and we've got an alternating bass as well.
So we've [A] got, together three, [F#] well let's go slower, how's that?
[A] Together three, [E] thumb, [A] three, thumb, three, three, thumb, three.
When I say three I'm referring to three [E] fingers.
Thumb of course is thumb, and [G] together is the four fingers.
[A#] [A] So together, okay?
Together three, thumb three, together three, thumb three.
[A]
It's harder [E] to do it slow than it is [N] to do it in tempo.
When I have to sit down and figure out exactly what's going on, you know a lot of times you
feel the music.
If you hear it enough it just comes [A] out.
So when you come down and explain it, it can be tricky.
[G#] But one more time it [A] is together three, thumb three, thumb three, three, thumb three.
Now we got it.
Together [E] three, thumb [A] three, thumb three, three, thumb three.
We'll move that to the next chord.
[F#] Together [C#m] three, thumb three, [F#]
thumb three, [G#] three, thumb [Bm] three.
Together three, thumb three, thumb three, three, thumb three.
[E] Together three, thumb three, thumb three, three, thumb [A] three.
Okay, so that's pretty much what's going on in a more traditional rhythm.
[D#m]
Now there are so many different rhythms.
[G#m] [C]
It would be hard to cover them all.
I'm just going to give a little bit of some different flavors for you to work on.
For example, here's a real common.
If you take a C major seven, then you throw in that [E]
sharp [Am] five, and then the six, [G#m] sharp five.
You might [Em] hear this a lot.
If we've got the alternating bass.
[E]
[Em]
[E] [E]
[Em] I'm going to play it slowly.
I'm going to throw a [D#] lot of rhythms your way.
[N] You'll have your tab book later to figure out all the details.
But I'd like to give you as much information as possible.
So I'm going to go real slowly.
the basic rhythm, and then its second measure, which is used so often.
Now Bossa Nova and samba are close cousins.
I guess an analogy would be, one could think of rock and roll as having come from the blues,
and Bossa Nova certainly comes from samba.
Many think of it as a more jazzified samba.
It's cooler, it's got those richer harmonies that many times are very similar to the harmonies
that are used in jazz.
Now modern samba also uses a lot of those, so sometimes it's really hard to know the
difference if you're listening to samba or Bossa Nova.
They're so close nowadays in modern Brazilian music.
But one way you can think of, samba tends to be a bit more driving.
Here's an example.
You can take a jazzy chord, [A] C6-9, but say a sambaista, someone who plays samba might
play it like, there's a lot of push there, almost aggressive, and maybe a Bossa Nova
person would play it,
[Am]
or with a [A] full treatment.
So those are some [Am] examples.
I'd like to [A] talk a little bit about samba rhythms, starting off with something more
traditional, which is what we call a 1-6-2-5 progression, using very simple chords, A,
[F#] F sharp [Bm] 7, B [E] minor 7, and E7.
If we were to [G] play it as it was played maybe 50, 60, [E] 70 years ago, it might sound [A] something like
[F#]
[Bm] [E]
[A]
[F#]
[Bm] [E]
[A] Okay, so [N] let's discuss what's happening there.
First of all, it's kind of got a march feel to it, you may have noticed.
In the early days of samba, there were a lot of what they called marchas, march sambas,
which were used a lot in the samba schools.
So you can feel that march feel to it.
What is [A] happening here, in the right hand, in the left hand we already saw what's going on.
In the right hand we've got together, the thumb and the three fingers, we've got together,
three fingers, thumb, three fingers, thumb, three fingers, three fingers, thumb, three fingers.
Let me show you that in context.
Together three, [Bm] oh, and we've got an alternating bass as well.
So we've [A] got, together three, [F#] well let's go slower, how's that?
[A] Together three, [E] thumb, [A] three, thumb, three, three, thumb, three.
When I say three I'm referring to three [E] fingers.
Thumb of course is thumb, and [G] together is the four fingers.
[A#] [A] So together, okay?
Together three, thumb three, together three, thumb three.
[A]
It's harder [E] to do it slow than it is [N] to do it in tempo.
When I have to sit down and figure out exactly what's going on, you know a lot of times you
feel the music.
If you hear it enough it just comes [A] out.
So when you come down and explain it, it can be tricky.
[G#] But one more time it [A] is together three, thumb three, thumb three, three, thumb three.
Now we got it.
Together [E] three, thumb [A] three, thumb three, three, thumb three.
We'll move that to the next chord.
[F#] Together [C#m] three, thumb three, [F#]
thumb three, [G#] three, thumb [Bm] three.
Together three, thumb three, thumb three, three, thumb three.
[E] Together three, thumb three, thumb three, three, thumb [A] three.
Okay, so that's pretty much what's going on in a more traditional rhythm.
[D#m]
Now there are so many different rhythms.
[G#m] [C]
It would be hard to cover them all.
I'm just going to give a little bit of some different flavors for you to work on.
For example, here's a real common.
If you take a C major seven, then you throw in that [E]
sharp [Am] five, and then the six, [G#m] sharp five.
You might [Em] hear this a lot.
If we've got the alternating bass.
[E]
[Em]
[E] [E]
[Em] I'm going to play it slowly.
I'm going to throw a [D#] lot of rhythms your way.
[N] You'll have your tab book later to figure out all the details.
But I'd like to give you as much information as possible.
So I'm going to go real slowly.
Key:
A
E
F#
Bm
Am
A
E
F#
_ _ Okay, we were discussing rhythms earlier, and I showed Bossa Nova I and II, which is
the basic rhythm, and then its second measure, _ which is used so often.
Now Bossa Nova and samba are close cousins.
I guess an analogy would be, one could think of rock and roll as having come from the blues, _
and Bossa Nova certainly comes from samba.
Many think of it as a more jazzified samba.
It's cooler, it's got _ those richer harmonies that many times are _ very similar to the harmonies
that are used in jazz.
_ _ Now modern samba also uses a lot of those, so sometimes it's really hard to know the
difference if you're listening to samba or Bossa Nova.
They're so close _ nowadays in modern Brazilian music.
But one way you can think of, _ samba tends to be a bit more driving.
Here's an example.
You can take a jazzy chord, [A] _ C6-9, _ _ but say a sambaista, someone who plays samba might
play it like, _ _ _ _ _ _ _ _ _ _ _ there's a lot of push there, almost aggressive, and maybe a Bossa Nova
person would play it, _
_ _ _ _ _ _ [Am] _
or with a [A] full treatment. _ _ _
_ _ _ _ _ _ So those are some [Am] examples.
I'd like to [A] talk a little bit about samba rhythms, starting off with something more
traditional, _ which is what we call a 1-6-2-5 progression, _ using very simple chords, _ A,
_ [F#] _ _ _ _ F sharp [Bm] 7, _ _ _ _ B [E] minor 7, and _ E7.
_ _ If we were to _ [G] play it as it was played maybe _ 50, 60, [E] 70 years ago, it might sound [A] something _ like_
_ _ [F#] _ _ _ _
_ _ [Bm] _ _ _ _ _ [E] _
_ _ _ _ _ [A] _ _ _
_ _ [F#] _ _ _ _ _ _
[Bm] _ _ _ _ _ [E] _ _ _
_ _ _ [A] _ _ _ Okay, so _ [N] _ let's discuss what's happening there.
_ _ First of all, it's kind of got a march feel to it, you may have noticed.
_ In the early days of samba, there were a lot of what they called marchas, _ march sambas,
which were used a lot in the samba schools.
_ _ So you can feel that march feel to it.
What is [A] happening here, _ in the right hand, in the left hand we already saw what's going on.
In the right hand we've got _ _ together, the thumb and the three fingers, we've got together,
three fingers, thumb, three fingers, thumb, three fingers, three fingers, thumb, three fingers.
Let me show you that in context.
_ _ _ Together three, _ _ [Bm] oh, and we've got an alternating bass as well.
So we've [A] got, _ _ _ _ _ _ _ _ _ _ _ together three, [F#] well let's go slower, how's that?
[A] Together three, [E] thumb, [A] three, thumb, three, three, thumb, three.
When I say three I'm referring to three [E] fingers.
Thumb of course is thumb, and [G] together is the four fingers.
_ [A#] _ [A] So together, _ _ _ _ _ okay?
Together three, thumb three, _ _ together three, thumb three.
[A] _ _ _ _ _ _ _
_ _ _ _ It's harder [E] to do it slow than it is [N] to do it in tempo.
When I have to sit down and figure out exactly what's going on, you know a lot of times you
feel the music.
If you hear it enough it just comes [A] out.
So when you come down and explain it, _ _ _ _ _ _ _ it can be tricky.
[G#] But one more time it [A] is together three, thumb three, thumb three, three, thumb three.
Now we got it. _
Together [E] three, thumb [A] three, thumb three, three, thumb three.
We'll move that to the next chord.
_ [F#] Together [C#m] three, thumb three, [F#]
thumb three, [G#] three, thumb [Bm] three.
Together three, thumb three, thumb three, three, thumb three.
[E] Together three, thumb three, thumb three, three, thumb [A] three.
_ Okay, so that's pretty much what's going on in a more traditional rhythm.
[D#m] _
Now there are so many different rhythms.
[G#m] _ _ [C]
It would be hard to cover them all.
I'm just going to give a little bit of some different flavors for you to work on.
For example, here's a real common.
_ If you take a C _ major seven, then you throw in that [E] _
sharp [Am] five, _ _ and then the six, [G#m] sharp five.
You might [Em] hear this a lot.
_ If we've got the alternating bass.
_ _ _ [E] _ _
_ _ _ _ _ _ _ [Em] _
_ _ [E] _ _ _ [E] _ _ _
_ _ _ [Em] _ _ I'm going to play it slowly.
I'm going to throw a [D#] lot of rhythms your way.
[N] You'll have your tab book later to figure out all the details.
But I'd like to give you as much information as possible.
So I'm going to go real slowly. _ _
the basic rhythm, and then its second measure, _ which is used so often.
Now Bossa Nova and samba are close cousins.
I guess an analogy would be, one could think of rock and roll as having come from the blues, _
and Bossa Nova certainly comes from samba.
Many think of it as a more jazzified samba.
It's cooler, it's got _ those richer harmonies that many times are _ very similar to the harmonies
that are used in jazz.
_ _ Now modern samba also uses a lot of those, so sometimes it's really hard to know the
difference if you're listening to samba or Bossa Nova.
They're so close _ nowadays in modern Brazilian music.
But one way you can think of, _ samba tends to be a bit more driving.
Here's an example.
You can take a jazzy chord, [A] _ C6-9, _ _ but say a sambaista, someone who plays samba might
play it like, _ _ _ _ _ _ _ _ _ _ _ there's a lot of push there, almost aggressive, and maybe a Bossa Nova
person would play it, _
_ _ _ _ _ _ [Am] _
or with a [A] full treatment. _ _ _
_ _ _ _ _ _ So those are some [Am] examples.
I'd like to [A] talk a little bit about samba rhythms, starting off with something more
traditional, _ which is what we call a 1-6-2-5 progression, _ using very simple chords, _ A,
_ [F#] _ _ _ _ F sharp [Bm] 7, _ _ _ _ B [E] minor 7, and _ E7.
_ _ If we were to _ [G] play it as it was played maybe _ 50, 60, [E] 70 years ago, it might sound [A] something _ like_
_ _ [F#] _ _ _ _
_ _ [Bm] _ _ _ _ _ [E] _
_ _ _ _ _ [A] _ _ _
_ _ [F#] _ _ _ _ _ _
[Bm] _ _ _ _ _ [E] _ _ _
_ _ _ [A] _ _ _ Okay, so _ [N] _ let's discuss what's happening there.
_ _ First of all, it's kind of got a march feel to it, you may have noticed.
_ In the early days of samba, there were a lot of what they called marchas, _ march sambas,
which were used a lot in the samba schools.
_ _ So you can feel that march feel to it.
What is [A] happening here, _ in the right hand, in the left hand we already saw what's going on.
In the right hand we've got _ _ together, the thumb and the three fingers, we've got together,
three fingers, thumb, three fingers, thumb, three fingers, three fingers, thumb, three fingers.
Let me show you that in context.
_ _ _ Together three, _ _ [Bm] oh, and we've got an alternating bass as well.
So we've [A] got, _ _ _ _ _ _ _ _ _ _ _ together three, [F#] well let's go slower, how's that?
[A] Together three, [E] thumb, [A] three, thumb, three, three, thumb, three.
When I say three I'm referring to three [E] fingers.
Thumb of course is thumb, and [G] together is the four fingers.
_ [A#] _ [A] So together, _ _ _ _ _ okay?
Together three, thumb three, _ _ together three, thumb three.
[A] _ _ _ _ _ _ _
_ _ _ _ It's harder [E] to do it slow than it is [N] to do it in tempo.
When I have to sit down and figure out exactly what's going on, you know a lot of times you
feel the music.
If you hear it enough it just comes [A] out.
So when you come down and explain it, _ _ _ _ _ _ _ it can be tricky.
[G#] But one more time it [A] is together three, thumb three, thumb three, three, thumb three.
Now we got it. _
Together [E] three, thumb [A] three, thumb three, three, thumb three.
We'll move that to the next chord.
_ [F#] Together [C#m] three, thumb three, [F#]
thumb three, [G#] three, thumb [Bm] three.
Together three, thumb three, thumb three, three, thumb three.
[E] Together three, thumb three, thumb three, three, thumb [A] three.
_ Okay, so that's pretty much what's going on in a more traditional rhythm.
[D#m] _
Now there are so many different rhythms.
[G#m] _ _ [C]
It would be hard to cover them all.
I'm just going to give a little bit of some different flavors for you to work on.
For example, here's a real common.
_ If you take a C _ major seven, then you throw in that [E] _
sharp [Am] five, _ _ and then the six, [G#m] sharp five.
You might [Em] hear this a lot.
_ If we've got the alternating bass.
_ _ _ [E] _ _
_ _ _ _ _ _ _ [Em] _
_ _ [E] _ _ _ [E] _ _ _
_ _ _ [Em] _ _ I'm going to play it slowly.
I'm going to throw a [D#] lot of rhythms your way.
[N] You'll have your tab book later to figure out all the details.
But I'd like to give you as much information as possible.
So I'm going to go real slowly. _ _