One Note Samba: Adding Chords in the Right Hand

If you managed to play the two-feel bassline for "One Note Samba" in the last lesson, you can now try adding some chords in the right hand. In this lesson, we'll look at some chordal rhythms that you could use in a Latin bossa style.

Understanding Chord Symbols

It's really important that you understand what all those chord symbols mean and can play the chords confidently.

• B7b5: This chord is like B7 but with an F instead of an F sharp.
• Bb6: Go through all the chords in the tune and make sure that you're familiar with the basic shapes and their inversions.

Importance of Inversions

You need to know the inversions because when you have, say, a two-five-one progression, you're probably going to be alternating. You don't want to be jumping around all over the place.

• For instance, in the key of Eb, the two chord is F minor.
  • F Minor: Second inversion
  • Bb7: Root position
  • Eb Major: Second inversion

This setup avoids unnecessary jumping around. Do something similar with the key of Db major.

Chords from One Note Samba

All these chords are from "One Note Samba":

• Eb Minor: Third inversion
• Move One Note and you get Ab9: First inversion
• Finish up back on Db Major: Third inversion

Another Example

Starting with root position:

• C# Minor
• F#7: Top two notes move down
• Keep the top two notes there, and you get B Major.

In this position, you're sharing two notes between each chord pair. It's another sort of practice pattern that you could take around the cycle of two fives.

Introducing Latin Rhythms

Now let's put some of these things in the right hand with a two-feel bass. I'm going to show you some really important Latin rhythms.

1. Basic Rhythm:

   • Two notes on beats one and two
   • Two chords on beats one and two
   • However, the third chord is played half a beat later on three.

   This creates a nice relaxed rhythm.

2. Authentic Two-Bar Pattern:

   • Most Latin rhythms are in fact two-bar patterns, unlike the previous rhythm.
   • Notice how the chords alternately come in off the beat with one hand and on the beat.

   In this pattern, only one chord is off the beat (that's the first one).

3. Reversed Pattern:

   • Let's reverse that pattern and start with the on-the-beat chord.
   • In all these three examples, the top note of the chord remains the same.

Effective Device

This technique is a really effective device we've seen before. Keeping the top note the same for all four chords:

• Provides continuity
• Also avoids unnecessary jumping

You'll be doing this in the next tune: Bossa bass with chords.