Bossa Nova (sheet music in the #smlpdf)

Bossa Nova 3 Almir Chediak Guitar Songbook
Bossa Nova 4 Guitar songbook by Almir Chediak
Bossa Nova 5 Guitar Songbook Almir Chediak
Bossa Nova Almir Chediak Songbook 1 (guitar)
Bossa Nova Almir Chediak Songbook 2 (guitar)
Bossa Nova Basics for guitar (German-Deutsch) by Andreas Schulz
Bossa Nova Classics Jazz Play Along with MP3 audio tracks – Vol.84
Bossa Nova Guitar Arrangements (Authentic Brazilian) by Jack Marshall
Bossa Nova Standards for Guitar with MP3 audio tracks play along

Antonio Carlos JOBIM – For Bossa Nova all styles (Guitar Tabs)

Guitar Training Jazz Bossa Nova Guitar

Jazz Piano Solos Volume 15 – Bossa Nova, including the song:

AGUA DE BEBER Astrud Gilberto, Antonio Carlos Jobim
(WATER TO DRINK)
6 AGUAS DE MARCO Stan Getz, Antonio Carlos Jobim
(WATERS OF MARCH)
16 BIM-BOM Joao Gilberto, Sergio Mendes
11 BOSSA ANTIGUA Paul Desmond, Vince Mendoza
20 CALL ME Astrud Gilberto, Gilberto Puente
30 ESTATE Joao Gilberto, Joe Pass
34 THE GIFT! Laurinda Almeida, Hank Mobley
(RECADO BOSSA NOVA)
25 THE GIRL FROM IPANEMA Eliane Elias, Stan Getz
(GAROTA DE IPANEMA)
40 HOW INSENSITIVE Charlie Byrd, Astrud Gilberto
(INSENSATEZ)
44 LITTLE BOAT Herbie Mann, Gabor Szabo
54 LONELY GIRL Bill Evans, Earl Klugh
49 A MAN AND A WOMAN Laurinda Almeida, Herbie Mann
(UN HOMME ET UNE FEMME)
58 MEDITATION (MEDITACAO) Charlie Byrd, Joao Gilberto
70 MENINA FLOR Luiz Bonfa, Stan Getz
65 0 PATO (THE DUCK) Stan Getz, Joao Gilberto
76 ONLY TRUST YOUR HEART Stan Getz, Astrud Gilberto
86 QUIET NIGHTS OF QUIET STARS Stan Getz, Antonio Carlos Jobim
(CORCOVADO)
90 SO NICE Astrud Gilberto, Walter Wanderley
93 WATCH WHAT HAPPENS Michel Legrand, Wes Montgomery
81 WAVE Charlie Byrd, Eliane Elias

Noriyasu Takeuchi Bossa Nova And Latin Pieces For Solo Guitar

The Real Songbook – Bossa Nova 1 Brazilian Jazz Real Book (Sheet Music)2

and also: Tom Jobim, Chico Buarque, Joao Bosco, Noel Rosa, Ary Barroso, Joao Gilberto, etc.etc.

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Sol De Bossa (bossa nova full album)

Song List:

1. Garota de Ipanema (イパネマの娘) Lys Gainza 2. A Felicidade (フェリシダージ) Aïdita Martinez 3. Samba de Verão (サマー・サンバ) Luisa Pereira 4. Wave (波) Andres Torron 5. Agua de Beber (おいしい水) Luisa Pereira 6. Ela é Carioca (彼女はカリオカ) Carmen Pi 7. Mas Que Nada (マシュ・ケ・ナーダ) Lys Gainza 8. Áquas de Março (三月の雨) Luisa Pereira 9. Meditação (幻想) Carmen Pi 10. Samba de Uma Nota Só (ワンノート・サンバ) Aïdita Martinez 11. Aquarela do Brasil (ブラジルの水彩画) Andres Torron 12. Insensatez (お馬鹿さん [ハウ・インセンシティヴ]) Lys Gainza 13. Chega de Saudade (想いあふれて) Carmen Pi 14. Berimbau (ビリンバウ) Andres Torron 15. Tristeza (Goodbye Sadness) (トリステーザ [グッバイ・サドネス]) Aïdita Martinez

Bossa Nova

‘Bossa nova’: the New Testament of samba

The sophisticated Brazilian popular rhythms and gave them a diplomatic passport to seduce the entire world. The person responsible was one and three: Antônio Carlos Jobim, João Gilberto and Vinícius de Moraes.

The bossa nova, literally “new style”, was born in the 50 years among the upper classes of Rio de Janeiro, as evoked by Carlos Lyra on the song Influência do Jazz , due to the influx of it on the samba. The cocktail came out a sambinha lounge, quiet, and cosmopolitan, in whose veins ran the syncopated rhythm afro-brazilian and the harmonic sophistication west.

Just listen to the singing style of crooners like Bing Crosby, Frank Sinatra and Chet Baker or the elegant productions of Julie London by Barney Kessel to check the links between this samba modernized and the jazz white of those decades. The thing was coming from the creation of the club of fans of Sinatra and Dick Farney (a local boy born Farnésio Dutra, chief exponent of the swing carioca), in whose concerts and gatherings were cited many of the early bosseros . Roberto Menescal, one of the main composers of the first wave, ensures that, in addition, these sambas whispers were singing quietly because the apartments of the neighborhoods of Ipanema and Copacabana had the walls are very thin and it was not a question of incordiar to the neighbors.

In the excellent documentary Coisa Mais Linda: Histórias e Cases da Bossa Nova (Paulo Thiago, 2005), the director Carlos Diegues ensures that the bossa nova combined will be at the height of the world with a desire obsessive for one’s own national identity. Unlike the cinema novo that Diegues practiced, letters filled with hope the boss did not speak of Brazil that was, but they wanted me to get to be. What escapism? Maybe better to utopia, although the topoi were clear: the beach, the love, the woman.

Lucky and miraculously, this obsession with the garotas are generally not devolved into cliché as that terrible “single, fané and descangayada” of the tango, or in this hedonism patriarchal promised “two girls for every boy” of the surf, but that some of his female characters would be today the most stringent review of genre, for example the independentísima Tereza da Praia , which was not from anyone. Not bad for the South america of the 50’s.

In addition, the movement can boast of having so many women among its leading figures, like Elizeth Cardoso, star of the seen by many as the first album of the movement, Canção do Amor Demais (1957); Wanda Sa, umbrella of the members of the second wave in his album Loosely (1954), and, especially, Nara Leão, that has gone down in history not only as the muse official of the movement and the host of the first meetings of the group, but as one of its greatest interpreters.

Although today it seems to us the most normal thing in the world, the fact that a girl brazilian middle class-high as she dared to play the guitar –an instrument that was apparently extremely ill seen between women– and opened the doors of the popular music from thousands of brazilian.

Despite its complexity, the bossa not only opened the door to the women, but potentially to all over the world. Two decades before the birth of punk, Antônio Carlos Jobim and Newton Mendonça wrote what is probably the greatest hymn to the “do it yourself” or “do it yourself”, which has been known to mankind: out-of-tune .

“You with your music forgot about the main thing”, blamed her for the recipient of his song, “that in the chest of the detuned also bat for a heart”. Paradoxical this message, punk , avant la lettre, a song with a chord progression of more than thirty chords (compare with the popular three chord trick not only for punks, but of a large part of the pop of the time). Shortly, its gospels conquered the world: at 62, full house in the performance of some of its major figures in the Carnegie Hall of New York.

In 63, worldwide success of The Girl from Ipanema (translation of the Garota de Ipanema by Jobim and de Moraes in the release of Getz and the marriage Gilberto). Throughout the decade, tens of jazz players, including figures such as Duke Ellington or Wes Montgomery, to embarrass discs bossa . Some, such as Charlie Byrd and Stan Getz practically encasillarían forever in that style. In Spain, the style has triumphed over soon, to the point that until Marisol turned bossera in Heading to Rio, 1963.

Among the dozens of outstanding musicians who left us this revolution is discreet, there are three that would overshadow everything. Such is his height to that of the tandem created by this composer, this poet and this interpreter has gone down in history as the holy trinity of the bossa nova –as said Cortázar , our gods are on earth, not on the other hand–.

The composer and the first person of this union hipostásica is Antônio Carlos Jobim (1927-1994), also known as Tom Jobim. This classically trained pianist added on a bed of samba and jazz, several tablespoons of Debussy, Ravel, Villa-Lobos, Rachmaninov and Chopin –while listening to this face-to-face between your standard Folly and the prelude no. 4 by Chopin –. Her work is a testament of immense capacity for melodic, a talent that very few have had.

On one occasion, when he remembered the amount of unforgettable melodies that he had created, according to your interviewer only behind the Beatles, Jobim joked: “Yes, but they were four.” Out-of-tune , Samba de Uma Nota Só , Meditação (all of them with Newton Mendoza), Inútil Paisagem , Folly , Águas de Março , Garota de Ipanema , Corcovado … The list is endless.

Even if your disk more popular was Wave (1967), I would recommend three to start abordarle: Sylvia Telles Sings The Wonderful Songs Of Antonio Carlos Jobim (1965), where one of its first interpreters, Sylvinha Telles, she sings the best of his repertoire; Francis Albert Sinatra & Antônio Carlos Jobim (1967), which puts a clasp of gold at the open cycle with the Sinatra-Farney Fan Club; and finally Home (2002), of Ryuichi Sakamoto and marriage Morelenbaum (co-workers of Jobim in his last years), a tribute posthumously recorded in his own living room and with its own grand piano of an extreme delicacy.

The second person of this union of the trinity is Vinicius de Moraes (1913-1980), the poet. A member of the Itamaraty (the brazilian diplomat), one of the writers most respected of Brazil, and perhaps his bon vivant par excellence, De Moraes began to collaborate with Jobim in Orfeu da Conceição in the mid 50’s (an adaptation of the myth of Orpheus and Eurydice that she would meet the global success in the film adaptation of Marcel Camus, Orpheus Black , 1959).

Since then collaborate in dozens of songs, the most known of which is his very famous Garota de Ipanema . The best overview of his career is likely to be A Arte de Vinícius de Moraes (1976), but an album that stands out on all of his work is his beautiful Os Afro – Sambas (1965), composed in the middle with the guitarist Baden-Powell. It is not exactly bossa nova, perhaps even the opposite: instead of a modernization, it is a back to basics , in which they explore the african roots of candomblé in the samba. Be that as it may, it is undeniably one of the best albums of brazilian popular music.

The last person, the holy spirit –though he is the one that today he is still among us in flesh and bone– it is João Gilberto (1931), the interpreter. He had guitarists technically more competent –the Baden-Powell, Luiz Bonfá or Bola Sete– and infinite singers with the greatest record, but their unpredictable whipped guitar, the warmth of its tone, and the intimacy of his way of singing that found the right balance, and defined the style.

First premiered as a guitarist in the disk of the founding of Elizeth Cardoso of the 57, but it was not until his canon Chega de Saudade (1958), with the invaluable musical direction of Jobim, when the boss took its final form.

A disk pacific, serenely joyous and deeply vital that it is not by chance is called, literally, “it is enough of sadness”. Less than five years later, she would conquer America from the hand of his wife, and Stan Getz. In full explosion of the bossa , did not fail to ensure that what he was doing was samba. Your best introduction, the collection of The Legendary João Gilberto: The Original Bossa Nova Recordings 1958-1961 , which includes their first three albums, Chega de Saudade (1958), O Love, o Sorriso e a Flor (1960) and João Gilberto (1961).

The bossa nova is a music stress, and not only in regards to its harmony. It is one of the styles most complex and, at the same time, the paradigm of easy listening music popular that he knew how to conquer the jet set international, a music that did not understand purities, born of the mix of high and low culture, which represents as few identity of Brazil.

Their influence can follow rastreándose in thousands of music: it is one of the subspecies of Latin jazz, many of his songs have become standards of the Real Book and still more on the pop inside and outside of Brazil. Some of his disciples international have been Stereolab, The High Llamas and Aztec Camera, or in Spain, Carlos Berlanga, Parade, and The Good Life, among others.

At times, it has pulled the boss with a lot of grace, as Seu Jorge in The Life Aquatic With Steve Zissou (2004), where he gave a version to Bowie to the brazilian, with such gusto that fell in love with the own Duke White. And other times with less precision, as the French Nouvelle Vague, who have made a career with adaptations dengosas of successes of the new wave and post-punk in the key of bossa . This is nothing new: usually they have wanted to do degenerate into little more than elevator music. However, the peace loving his poetry, the quiet beauty of his images and the difficulty without boastings of his music continues to seduce the world and will continue to do so, year after year, while we do not deaf at all.

Stan Getz: The Girl from Ipanema