(Instead of iii/Vi/ii/V, Jobim uses iii/bIII/ii/bii.) To learn how to improvise on this, you'll have to figure out which scales to use. Unlike many tunes, “One Note Samba” begins on the iiim7 chord and then works it's way chromatically down with a series of triton substitutions. Musical ideas and jazz piano practice tips: (for international readers who may not have access to these YouTube links, I've indicated the original album names wherever possible so you can listen to them on music streaming services, etc.)Īntonio Carlos Jobim: The Composer Of Desafinado, Plays The song's lyric is very clever in how it comments on the static nature of the melodic line. Antonio Carlos Jobim wrote the song in 1960, and the “one note” of the title comes from the extensive use of a repeated note at the beginning of the melody. “One Note Samba” is one of the most famous Bossa Nova songs, and is a big favorite among jazz vocalists. I guess I’ll go on and vote today.A Guide To Help You Play Better Jazz Piano.Nothing like a good ballgame to lighten things up.Doug Ross on It would be great to see some coverage of 2nd District.Barry on It would be great to see some coverage of 2nd District.Brad Warthen on Nothing like a good ballgame to lighten things up.Brad Warthen on It would be great to see some coverage of 2nd District.Search for: Archives Archives Recent Comments A lot of his tunes have fairly static melodies if you think about it, at least until you get to the bridge…Corcovado (my favorite), Girl from Ipanema. And then as Kathryn pointed out, the bridge is completly different, melody ranging up and down the scale before returning to the “one-note.” Jobim was a genius, a master of harmonic motion. Everything is changing around it.īut it’s the syncopation of the samba rhythm that is the most infectious thing, isn’t it? Almost every note of the “tune” of One-Note-Samba is NOT happening on a beat, just anticipates the beat very slightly. If you watch this how-to video, you can see that the bass line, the bottom note of the harmony, moves progressively down chromatically (meaning, by consecutive half-steps, D, D-flat, C, etc.) while the melody repeats the same pitch…so as Scout was saying, in each bar of the “melody” the pitch has a sort of different color, even though it’s not going anywhere. Because to me, music is just magic, and far beyond my ken… Why does it work? Why isn’t it too monotonous? Does it keep us listening purely because of the rhythm? Is that it? Or is it the fact that we know, as we endure the one-note parts, that it’s going to change, and that change is what rewards us? Or is it because of what the instruments are playing while the singer is stuck on the one note? And obviously some people besides me like this one, since it’s been covered so often. Maybe it doesn’t speak to you, but I’ve always had a thing for samba music ever since my Dad brought back some records from a trip to Rio when I was a kid (sort of the way Liverpool kids learned about rock ‘n’ roll from the discs brought into port by sailors). This morning, I was listening to “ One-Note Samba,” and wondered how in the world that could reach out and grab me or anyone else. Remember long ago when I asked whether Phillip or other musical experts here could explain how “Hallelujah” worked, what it was about it that was so appealing? Phillip and many others rose to the occasion. It’s obliquely related to the one on Leonard Cohen.
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