PLL ae Taylor Made MEET THE BOSSA! Here’s a fascinating chord study in a bossa nova style which has an air of mystery about it - read on! Lesson by Martin Taylor + For further information| ‘about Martin Taylor's CDs, vvide0s and concert ‘appearances, {and to recene a nowsietter, please contact PO Box 8403, Maybole, ayrshire Kai9 7¥8 + contrapuntal Muste containing more than one iythmie element parts that move _agsinst each other ver the last few months we've been looking at the ifferent devices and techniques brought into play wen playing chord melody style ‘on the guitar. We've explored 10ths and moving basslines, but now it's time to introduce a little Brazilian influence into the proceedings with a bossa nova study, ‘The first thing to remember when playing through this study is to keep it flowing. Listen especially to how the bass alternates the way it does ~ fone of the elements of a bossa, In a band situation, the bass and percussion are responsible for much of the music's Latin groove, but we, Of course, are alone, and must try land keep it going as best we can! INI this calls for a great deal of Independence in the night hand fingers, the thumb plays the bass part and is rhythmically offset against the chordal accompaniment being played by the fingers. This in itself is a tough trick to master at ‘once. i's a bit ike patting your head ‘and rubbing your stomach at the ‘same time; things fal apart hopelessly at first, but one day everything magically comes together. To master this kind of contrapuntal rhythm, isolate just one of the chord shapes within the study and play it Bossa nova study (Count in bar) ‘over and over. Eventually, you shoule find that it begins to come more and more naturally | haven't used anything too exotic cchordally during the course of this lece as it vould ruin the freglity of the bossa style, We don't need anything too heavyweight, in other words, otherwise the mood would be lost completely. Bear in mind as you listen to the ‘example on the GTCD that this piece was never intended by its original composer to be a bossa. Some pieces convert to other styles easier than others and it's really down to the taste and imagination of the player concerned as to which chord ‘arrangements you try to twist to your own devious arranging devices! The bossa nova is a very ‘ythmie form of music and so we have to be careful, as I've already said, that the original mythmic drive is not lost. Much of the ‘swing’ of the bossa can be successfully suggested by the player's use of phrasing and ‘dynamics; concentrate on developing that relationship between hhassline and chords end you can’t really go wrong, [Next month, we'll ook at @ piece which is hat on the GT request line — Vl see you then. Competition! emer eck eee about as far away from any Latin poet meaeeneney Peee tec ese eon eke) Cece ee ot See ie eet ean eterna key Seer ty ‘one of the world w: eer Stee cee 82 © Guitar Techniques May 1998‘Amal Atmr>5 irs Gim7 ors G13 Fea oo en 84 © Guitar Techniques May 1998TCD Track 17 & on Emajgadde