Bossa nova

Template:Short description Template:Use dmy dates Template:Template other Bossa nova () is a relaxed style of sambaTemplate:Refn developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil.Template:Sfn It is mainly characterized by a calm syncopated rhythm with chords and fingerstyle mimicking the beat of a samba groove, as if it was a simplification and stylization on the guitar of the rhythm produced by a samba school band. Another defining characteristic of the style is the use of unconventional chords in some cases with complex progressions and "ambiguous" harmonies.Template:SfnTemplate:Sfn A common misconception is that these complex chords and harmonies were derived from jazz, but samba guitar players have been using similar arrangement structures since the early 1920s, indicating a case of parallel evolution of styles rather than a simple transference from jazz to bossa nova.Template:SfnTemplate:Sfn Nevertheless, bossa nova was influenced by jazz, both in the harmonies used and also by the instrumentation of songs, and today many bossa nova songs are considered jazz standards. The popularity of bossa nova has helped to renew samba and contributed to the modernization of Brazilian music in general.

One of the major innovations of bossa nova was the way to synthesize the rhythm of samba on the classical guitar.Template:SfnTemplate:Sfn According to musicologist Gilberto Mendes, the bossa nova was one of the "three rhythmic phases of samba", in which the "bossa beat" had been extracted by João Gilberto from the traditional samba.Template:Sfn The synthesis performed by Gilberto's guitar was a reduction of the "batucada" of samba, a stylization produced from one of the percussion instruments: the thumb stylized a surdo; the index, middle and ring fingers phrased like a tamborim.Template:Sfn In line with this thesis, musicians such as Baden Powell, Roberto Menescal, and Ronaldo Bôscoli also understand the bossa nova beat as being extracted from the tamborim play in the bateria.Template:Sfn

Etymology

File:Bossa nova dance pattern.png

Bossa nova rhythm

In Brazil, the word is old-fashioned slang for something done with particular charm, natural flair or innate ability. As early as 1932, Noel Rosa used the word in a samba:

(Samba, readiness and other are our things, are things from us.)

The phrase , translated literally, means "new trend" or "new wave" in Portuguese. The exact origin of the term remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in Rio de Janeiro, the term was used to refer to any new "trend" or "fashionable wave". In his book Bossa Nova, Brazilian author Ruy Castro asserts that was already in use in the 1950s by musicians as a word to characterize someone's knack for playing or singing idiosyncratically.

Castro claims that the term might have first been used in public for a concert given in 1957 by the ('Hebrew University Group of Brazil'). The authorship of the term is attributed to the then-young journalist Moyses Fuks, who was promoting the event. That group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luiz Eça, Roberto Menescal, and others. Mr Fuks's description, fully supported by most of the bossa nova members, simply read ("Today. Sylvia Telles and a 'Bossa Nova' group"), since Sylvia Telles was the most famous musician in the group at that time.

In 1959, Nara Leão also participated in more than one embryonic display of bossa nova. These include the 1st Festival de Samba Session, conducted by the student union of . This session was chaired by Carlos Diegues (later a prominent Cinema Novo film director), a law student whom Leão ultimately married.

History

The nightclubs of Template:Ill (Alley of the Bottles), a small dead-end alley in Copacabana, is considered a historical cradle of bossa nova.

In 1959, the soundtrack to the film Black Orpheus (Orfeu Negro) was released, which included the future Manhã de Carnaval, "The Morning of the Carnival". The style emerged at the time when samba-cançãoTemplate:Refn was the dominant rhythm in the Brazilian music scene.Template:SfnTemplate:Sfn Its first appearance was on the album Canção do Amor Demais, in which the singer Elizeth Cardoso recorded two compositions by the duo Antônio Carlos Jobim and Vinicius de Moraes, "Outra Vez" and "Chega de Saudade", which were accompanied by João Gilberto's guitar. It was the first time that the Bahian musician presented the beat of his guitar that would become characteristic of the style.Template:Sfn By accompanying Cardoso's voice, Gilberto innovated in the way of pacing the rhythm, accentuating the weak times, to carry out a synthesis of the beat of samba to guitar.Template:SfnTemplate:Sfn

In 1959, João Gilberto's bossa album was released, containing the tracks "Chega de Saudade" and "Bim Bom".Template:Sfn Considered the landmark of the birth of bossa nova,Template:SfnTemplate:Sfn it also featured Gilberto's innovative way of singing samba, which was inspired by Dorival Caymmi.Template:SfnTemplate:Sfn With the LP Chega de Saudade, released in 1959, Gilberto consolidated the bossa nova as a new style of playing samba.Template:SfnTemplate:Sfn His innovative way of playing and singing samba, combined with the harmonies of Antônio Carlos Jobim and the lyrics of Vinicius de Moraes, found immediate resonance among musicians who were looking for new approaches to samba in Rio de Janeiro,Template:SfnTemplate:Sfn many of whom were influenced by American jazz.Template:Sfn

On 21 November 1962, the Consulate-General of Brazil presented Bossa Nova at Carnegie Hall.

In 1964, João Gilberto and Stan Getz released the Getz/Gilberto album. Then, it emerged an artistic movement around Gilberto and other professional artists such as Jobim, Moraes and Baden Powell, among others, which attracted young amateur musicians from the South Zone of Rio – such as Carlos Lyra, Roberto Menescal, Ronaldo Bôscoli and Nara Leão.Template:SfnTemplate:Sfn Jorge Ben wrote "Mas que Nada" in 1963, and Sérgio Mendes & Brazil 66 gained a bossa rock hit "Mas que Nada" in 1966. It was inducted to the Latin Grammy Hall of Fame and sucess of Waters of March in 70s, the song was adapted for use in a series of advertisements for Coca-Cola in 80s. These ended with the then current slogan "Coke Is It". In the 1960s and 1970s, US jazz artists such as Stan Getz, Hank Mobley, Dave Brubeck, Zoot Sims, Paul Winter, and Quincy Jones recorded bossa jazz albums.

Bossa nova continues to influence popular music around the world, from the 1960s to today. An example is the song "Break on Through (To the Other Side)" by American rock band The Doors, especially the drum beat. Drummer John Densmore has stated that he was very influenced by the sounds of Brazil when coming up with the drum part for the song. In the mid-1980s, New Bossa emerged in Europe, in the work of Nigerian singer Sade Adu and in groups such as Matt Bianco and Style Council. A more recent reference is the Icelandic jazz pop singer Laufey and her hit song "From The Start", with its bossa nova infused rhythm.

Instruments

Classical guitar

File:Jarkko Toivonen Jumo Jazz Club 1993.jpg

Jarkko Toivonen performing in 1993.

Bossa nova is most commonly performed on the nylon-string classical guitar, played with the fingers rather than with a pick. Its purest form could be considered unaccompanied guitar with vocals, as created, pioneered, and exemplified by João Gilberto. Even in larger, jazz-influenced ensemble arrangements, a guitar is typically present to provide the foundational rhythm. Gilberto basically took one of the several rhythmic layers from a samba ensemble, specifically the tamborim, and applied it to the picking hand. According to Brazilian musician Paulo Bittencourt, João Gilberto, known for his eccentricity and obsessed by the idea of finding a new way of playing the guitar, sometimes locked himself in the bathroom, where he played one and the same chord for many hours in a row.

File:Basic bossa nova guitar rhythm.PNG

A basic bossa nova guitar rhythm for a C major chord. Note the syncopation in the chord's rhythm and the sixth and ninth added to the C major for a richer sound.

Drums and percussion

As in samba, the surdo plays an ostinato figure on the downbeat of beat one, the "ah" of beat one, the downbeat of beat two and the "ah" of beat two. The clave pattern sounds very similar to the two-three or three-two son clave of Cuban styles such as mambo but is dissimilar in that the "two" side of the clave is pushed by an eighth note. Also important in the percussion section for bossa nova is the cabasa, which plays a steady sixteenth-note pattern. These parts are easily adaptable to the drum set, which makes bossa nova a rather popular Brazilian style for drummers.

Structure

Certain other instrumentations and vocals are also part of the structure of bossa nova. These include:

Bossa nova and samba

File:Bossa-nova-rhythm1.svg

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Bossa nova has at its core a rhythm based on samba. Samba combines the rhythmic patterns and feel originating in afro-Brazilian slave communities. Samba's emphasis on the second beat carries through to bossa nova (to the degree that it is often notated in 2/4 time). However, unlike samba, bossa nova has no dance steps to accompany it. When played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns usually contain a syncopation into the second measure. Syncopation is a common feature of bossa nova, giving it its distinct "swaying" motion. While jazz music, which is typically swung, also contains syncopation, bossa nova is typically played without swing, contrasting with jazz. As bossa nova composer Carlos Lyra describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". There's also some evidence indicating a musical influence of blues in bossa nova, even thought this effect is not immediately recognized in the genre structure.

Vocals

Aside from the guitar style, João Gilberto's other innovation was the projection of the singing voice. Prior to bossa nova, Brazilian singers employed brassy, almost operatic styles. Now, the characteristic nasal vocal production of bossa nova is a peculiar trait of the caboclo folk tradition of northeastern Brazil.

Themes and lyrics

The lyrical themes found in bossa nova include women, love, longing, homesickness, and nature. Bossa Nova was often apolitical. The musical lyrics of the late 1950s depicted the easy life of middle to upper-class Brazilians, though the majority of the population was working class. In conjunction with political developments of the early 1960s (especially the 1964 military coup d'état), the popularity of bossa nova was eclipsed by , a musical genre that appeared around the mid-1960s, featuring lyrics that were more politically charged and focused on the working class struggle.

Dance

Bossa nova was also a fad dance that corresponded to the music. It was introduced in the late 1950s and faded out in the mid-sixties. Bossa nova music, with its soft, sophisticated vocal rhythms and improvisations, is well suited for listening but failed to become dance music despite heavy promotion in the 1960s. The style of basic dance steps suited the music well. It was danced on "soft" knees that allowed for sideways sways with hip motions and it could be danced both solo and in pairs. About ten various simple step patterns were published.

A variant of basic 8-beat pattern was: "step forward, tap, step back, step together, repeat from the opposite foot". A variation of this pattern was a kind of slow samba walk, with "step together" above replaced by "replace". Box steps of rhumba and whisk steps of nightclub two step could be fitted with bossa-nova styling. Embellishments included placing one arm onto one's own belly and waving another arm at waist level in the direction of the sway, possibly with a finger click.

Notable bossa nova recordings

Albums

• João Gilberto
  • Chega de Saudade (recorded 1959)
  • O Amor, o Sorriso e a Flor (recorded 1960)
  • Getz/Gilberto with Stan Getz (recorded 18 & 19 March 1963, released 1964)
• Luiz Bonfá
  • Luiz Bonfá Plays and Sings Bossa Nova (recorded December, 1962)
• Antônio Carlos Jobim
  • The Composer of Desafinado Plays (recorded 9 & 10 May 1963)
  • The Wonderful World of Antônio Carlos Jobim (recorded 1965)
  • Wave (1967)
  • Tide (1970)

Songs

• "Desafinado," - Joao Gilberto (1959)
• "Manhã de Carnaval," The morning of the carnival–Luiz Bonfa (1959), From Film "Black Orpheus" (Orpheu Negro)
• "The Girl From Ipanema"—Astrud Gilberto (1963)
• "Blue Bossa"—Kenny Dorham (1963)
• "Samba de Verão"—Marcos Valle (1966)
• "Mas que Nada"—Sérgio Mendes & Brasil 66 (1967)
• "Waters of March"—Tom Jobim (1973)
• "Smooth Operator"—Sade (band) (1984)
• "Your Love Is King"—Sade Adu (1984)
• "The Perfect Pair" — Beabadoobee (2022)
• "From the Start"—Laufey (2023)
• "BMF"—SZA (2024)

See also

• Samba rock

Sources

• Template:Cite thesis

Further reading

• Castro, Ruy (transl. by Lysa Salsbury). Bossa Nova: The Story of the Brazilian Music That Seduced the World. 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. Template:ISBN

First published in Brasil by Companhia das Letras. 1990.

• De Stefano, Gildo, Il popolo del samba, La vicenda e i protagonisti della storia della musica popolare brasiliana, Preface by Chico Buarque de Hollanda, Introduction by Gianni Minà, RAI-ERI, Rome 2005, Template:ISBN
• De Stefano, Gildo, Saudade Bossa Nova: musiche, contaminazioni e ritmi del Brasile, Preface by Chico Buarque, Introduction by Gianni Minà, Logisma Editore, Firenze 2017, Template:ISBN
• McGowan, Chris and Pessanha, Ricardo. The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil. 1998. 2nd edition. Temple University Press. Template:ISBN
• Perrone, Charles A. Masters of Contemporary Brazilian Song: MPB 1965–1985. Austin: University of Texas Press, 1989.
• Mei, Giancarlo. Canto Latino: Origine, Evoluzione e Protagonisti della Musica Popolare del Brasile. 2004. Stampa Alternativa-Nuovi Equilibri. Preface by Sergio Bardotti; afterword by Milton Nascimento. (in Italian)