BLUE BOSSA KENNY DORHAM PDF

To help you understand these concepts further, here are short background descriptions for each of the important chord and Bossa concepts covered in the chord study below so that you can understand the building blocks of this exercise. This type of half-step movement on top of chords is commonly found in the playing of many Brazilian guitarists. Maj9 Chords — Again, this is a softer version of the Maj7 chords that many jazz guitarists prefer to use for their Imaj7 and IVmaj7 chord voicings. When adding this chord into your playing, you can play the m11b5 to the m7b5, or vice-versa, in order to create some melodic movement on top of the chord changes.

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For Kenny, the bass line was a very important part of the composition. The actual recording starts with an eight-measure introduction, where bassist Butch Warren sets up the melody with four repetitions of the two-measure bass pattern. The C treble clef lead sheet includes the bass line on a separate staff under both the melody and the shout chorus, so you can see how they fit together.

Bass players, as well as anyone else wanting to see the entire bass line, should get the C treble clef edition. The shout chorus is constructed around the same bass line. Joe and Kenny worked closely together for many years and made quite a few albums together.

That album featured another Dorham title, Una Mas. The lines interact with with the underlying harmonies and rhythms. This composition is written around a bass line which is shown in the C treble clef lead sheet.

The eight-measure introduction sets up the melody with four repetitions of the two-measure bass pattern. Bass players should purchase the C treble clef with Bass lead sheet. Add your name or email in the first field. In the second, add one or more email addresses, separated by a comma. Your Name.

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