When the harmony is being syncopated, we must ensure that the chords do not always fall on the downbeats. Anticipating & Delaying The HarmonyĪnticipation is another key ingredient of the groove. In the lesson, we will explore and demonstrate the correct way to play ghost notes, and the incorrect “16th note approach” which is a common slipping point that will ruin the sense of groove. The ghost notes in the bass line are a very important element of the Samba & Bossa Nova Grooves. This left-hand bass line gives the right-hand line a reference from which to be syncopated. You must have the non-syncopated line of the Surdo in order to achieve the combination of these rhythms. The second layer of the Samba is a syncopated line which takes the role of the Tamborim drum. In Brazilian music, the accent is placed on the 2nd beat. Using western classical music as an example, you will notice that the accents are always on the downbeat. If you are used to playing a lot of European inspired music, you might find it unusual to place the emphasis on the 2nd beat. The bass line pattern is the non-syncopated element and this is performed by the Surdo drum in the Samba band. Samba can be defined as a 2 layer rhythm where 1 rhythm is non-syncopated. The bass patterns in Bossa Nova and Samba are driven by the left hand. Bass Patterns & Bass lines in Samba & Bossa Nova The left-hand takes the role of the Surdo drum, and the right-hand takes the role of the Tamborim.

We will examine the components of both the right and left-hand and explore the interplay between the drums, the bass lines, and the harmony.

In this lesson, we will break down the rhythms of Bossa Nova and Samba music. Welcome to part 2 of this course on the music of Brazil.

Bossa nova drum pattern