Nosso Samba, Noam Lederman (Lección)

Music Lesson on "Noso Samba"

Hey guys, this is James here.

Today we're going to be looking at "Noso Samba," which is a Grade 8 piece in the Rock School syllabus. This is a tune, like the title suggests, that is based around samba music, a sort of Brazilian style of music.

Influences

We're really looking at:

• Antonio Carlos Jobim
• Astrud Gilberto
• Jo ?o Gilberto

These artists created some great music that I highly recommend you check out. It really encapsulates the flavor and sounds of Latin music, particularly samba, that came around in the 60s.

This tune is kind of like an arrangement of some of those styles. Let's have a look and see what we can do.

Piece Structure

The piece starts with lots of hits. The piano is playing a riff which goes:

(Riff not included in the transcription)

Most of the piece is based around this idea of going from the major 7 down to the 6.

Intro

At the very beginning, you've got quite a bit of time while there's a drum intro. I would keep these nice and staccato:

• Keep the first one open and sustained.
• The following three should be played nice and crisp and staccato.

So we're going... (Next part not included in the transcription)

Dynamics

In Bar 13, where the backing track bass comes in, we're playing an accompaniment role.

• Sustain the major 7, 6 chords.
• Play these nice and gently because the bass is a very quiet instrument.

If we're playing in a live setting, we want it to be mp, maybe even p. Keep it nice and quiet, really contrasting from the hits in the first section.

Example of Dynamics:

• First section: Strong hits
• Second section: Gentle accompaniment

Melody Section

In Bar 33, which is C on the score, the piano plays the melody.

We want:

• A strong left hand accompaniment that isn't too loud (to not overshadow the melody),
• A clear right hand to make the melody sing.

So I'd suggest something like this: (Melody example not included in the transcription)

We want the samba rhythm to be present, which includes all the syncopation off the beats.

Chord Progression

Cycle of Fives

In section D, we change from the major 7 to the 6 and go through a cycle of fives:

• B
• E
• A
• D
• G
• C

These are classic progressions in Latin music, samba, and jazz.

Suggested songs to listen to:

• Agua de Beber
• Desafinado

Playing Technique

When we're playing these chords, it's important to sustain them and ensure they're loud enough for the trombone on the backing track to take the melody.

Be mindful of:

• Beat 3 in bars, where I'm making them staccato.
• Pushing into beat 1, creating a sense of anticipation.

Bass Solo

After this, we have the bass solo. This is pretty similar to the verse (Bar 13):

• Play nice and quietly.

Bass solos are usually very quiet, and we want to keep the energy chill.

Piano Solo

Now we move on to probably the most difficult part of this piece, which is F, the piano solo.

• The piano solo is only 20 bars.
• In a live setting, solos may last 100 bars or several minutes.

While this solo is brief, it's packed with information that will help you improve your improvisation.

Key Points in the Solo:

• First four bars can be a bit fiddly. Ensure the fingering is right.
• When looking at Bar 103: Use the second finger on the second note of the right hand for smooth transition.

Technical Pointers

• Watch how to play the descending high notes.
• The hardest part of this solo is Bar 115.

This requires careful fingering and is a great challenge.

To practice:

• Take it slow.
• Work on left hand separately and focus on getting that right hand up to speed.

Returning to the D.S.

When we return to the D.S., we're reverting to the sustained chords.

Final Sections

In the Coda, it differs from the rest of the piece:

• There are similar hits in the right hand, but they feature different shapes and syncopations.

Key Bar to Watch Out For:

• Bar 128 involves bouncing between the hands.

Conclusion

Finally, we end with sustained chords for the last two bars before the big hits.

• Go for it!
• Make this climax memorable.

You might incorporate a glissando to add authenticity, a common element in Latin music.

Practice Tips

• Start slowly to tackle tricky sections.
• Focus on dynamics and ensure you don't overshadow the bass during solos.

Just keep practicing, and I'm sure within no time, you'll have it sounding great. Good luck!