Bossa nova

For other uses, seeBossa nova (disambiguation).

"Bossa" redirects here. For other uses, seeBossa (disambiguation).

Bossa nova
Stylistic origins	Samba Jazz Choro Classical
Cultural origins	Late 1950s,South Zoneof Rio de Janeiro, Brazil
Derivative forms	Samba-jazz Sambalanço Sambass

Bossa nova(Portuguese pronunciation:[ˈbɔsɐˈnɔvɐ]) is a relaxed style ofsambadeveloped in the late 1950s and early 1960s inRio de Janeiro,Brazil.It is mainly characterized by a calmsyncopatedrhythm with chords and fingerstyle mimicking the beat of a samba groove, as if it was a simplification and stylization on the guitar of the rhythm produced by asamba schoolband. Another defining characteristic of the style is the use of unconventional chords in some cases with complex progressions and "ambiguous" harmonies.A common misconception is that these complex chords and harmonies were derived fromjazz,but samba guitar players have been using similararrangementstructures since the early 1920s, indicating a case of parallel evolution of styles rather than a simple transference from jazz to bossa nova.Nevertheless bossa nova was influenced by jazz, both in the harmonies used and also by the instrumentation of songs, today many bossa nova songs are consideredjazz standards.The increase in popularity of bossa nova has helped to renew samba and contributed to the modernization ofBrazilian musicin general.

One of the major innovations of bossa nova was the way to synthesize the rhythm of samba on theclassical guitar.According to musicologistGilberto Mendes,the bossa nova was one of the "three rhythmic phases of samba", in which the "bossa beat" had been extracted byJoão Gilbertofrom the traditional samba.The synthesis performed byGilberto's guitar was a reduction of the "batucada"of samba, a stylization produced from one of the percussion instruments: the thumb stylized asurdo;the index, middle and ring fingers phrased like a tamborim.In line with this thesis, musicians such asBaden Powell,Roberto Menescal,andRonaldo Bôscolialso understand the bossa nova beat as being extracted from thetamborimplay in thebateria.

Etymology

Bossa novarhythm

In Brazil, the wordbossais old-fashioned slang for something done with particular charm, natural flair or innate ability. As early as 1932,Noel Rosaused the word in a samba:

"O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas."

( "Samba, readiness and otherbossasare our things, are things from us. ")

The phrasebossa novameans literally "new trend" or "new wave" in Portuguese.The exact origin of the termbossa novaremained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s inRio de Janeiro,the termbossawas used to refer to any new "trend" or "fashionable wave". In his bookBossa Nova,Brazilian authorRuy Castroasserts thatbossawas already in use in the 1950s by musicians as a word to characterize someone's knack for playing or singing idiosyncratically.Castro claims that the termbossa novamight have first been used in public for a concert given in 1957 by theGrupo Universitário Hebraico do Brasil('Hebrew University Group of Brazil'). The authorship of the termbossa novais attributed to the then-young journalist Moyses Fuks, who was promoting the event.That group consisted ofSylvia Telles,Carlos Lyra,Nara Leão,Luiz Eça,Roberto Menescal,and others. Mr Fuks's description, fully supported by most of the bossa nova members, simply read"HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA"( "Today. Sylvia Telles and a 'Bossa Nova' group" ), since Sylvia Telles was the most famous musician in the group at that time. In 1959, Nara Leão also participated in more than one embryonic display of bossa nova. These include the 1st Festival de Samba Session, conducted by the student union ofPontifícia Universidade Católica.This session was chaired byCarlos Diegues(later a prominentCinema Novofilm director), a law student whom Leão ultimately married.

History

In 1959, the soundtrack to the filmBlack Orpheus(Orfeu Negro) was released, which included the futureManhã de Carnaval,"The Morning of the Carnival". The style emerged at the time whensamba-cançãowas the dominant rhythm in the Brazilian music scene.Its first appearance was on the albumCanção do Amor Demais,in which the singerElizeth Cardosorecorded two compositions by the duoAntônio Carlos JobimandVinicius de Moraes,"Outra Vez" and "Chega de Saudade",which were accompanied by João Gilberto's guitar. It was the first time that the Bahian musician presented the beat of his guitar that would become characteristic of the style.By accompanying Cardoso's voice, Gilberto innovated in the way of pacing the rhythm, accentuating the weak times, to carry out a synthesis of the beat of samba to guitar.

In 1959, João Gilberto's bossa album was released, containing the tracks "Chega de Saudade" and "Bim Bom".Considered the landmark of the birth of bossa nova,it also featured Gilberto's innovative way of singing samba, which was inspired byDorival Caymmi.With the LPChega de Saudade,released in 1959, Gilberto consolidated the bossa nova as a new style of playing samba.His innovative way of playing and singing samba, combined with the harmonies of Antônio Carlos Jobim and the lyrics of Vinicius de Moraes, found immediate resonance among musicians who were looking for new approaches to samba in Rio de Janeiro,many of them were influenced by Americanjazz.In 1964 João Gilberto and Stan Getz released theGetz/Gilbertoalbum. Then, it emerged an artistic movement around Gilberto and other professional artists such as Jobim, Moraes andBaden Powell,among others, which attracted young amateur musicians from theSouth Zone of Rio– such asCarlos Lyra,Roberto Menescal,Ronaldo Bôscoli andNara Leão.Jorge Ben wrote "Mas que Nada"in 1963, andSergio Mendes& Brazil 66 gained a bossa rock hit "Mas que Nada" in 1966.It was inducted to theLatin Grammy Hall of Fame.In the 1960s, US jazz artists such as Stan Getz, Hank Mobley, Zoot Sims, Paul Winter and Quincy Jones recorded bossa jazz albums.

Bossa nova has continue to influence popular music around the world from the 1960s to today. An example is the song "Break on Through (To the Other Side)"by American rock bandThe Doors,especially the drum beat. DrummerJohn Densmorehas stated that he was very influenced by the sounds of Brazil when coming up with the drum part for the song.A more recent reference is the Icelandic jazz pop singerLaufeyand her hit song "From The Start",with its bossa nova infused rhythm.

Instruments

Classical guitar

Jarkko Toivonen performing in 1993.

Bossa nova is most commonly performed on the nylon-stringclassical guitar,played with the fingers rather than with apick.Its purest form could be considered unaccompanied guitar with vocals, as created, pioneered, and exemplified byJoão Gilberto.Even in larger, jazz-like arrangements for groups, there is almost always a guitar that plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers from asamba ensemble,specifically thetamborim,and applied it to the picking hand. According to Brazilian musician Paulo Bittencourt, João Gilberto, known for his eccentricity and obsessed by the idea of finding a new way of playing the guitar, sometimes locked himself in the bathroom, where he played one and the same chord for many hours in a row.

A basic bossa nova guitar rhythm for a C major chord. Note the syncopation in the chord's rhythm and the sixth and ninth added to the C major for a richer sound.

Drums and percussion

As in samba, thesurdoplays an ostinato figure on the downbeat of beat one, the "ah" of beat one, the downbeat of beat two and the "ah" of beat two. Theclavepattern sounds very similar to the two-three or three-two son clave of Cuban styles such asmambobut is dissimilar in that the "two" side of the clave is pushed by an eighth note. Also important in the percussion section for bossa nova is thecabasa,which plays a steady sixteenth-note pattern. These parts are easily adaptable to the drum set, which makes bossa nova a rather popular Brazilian style for drummers.

Structure

Certain other instrumentations and vocals are also part of the structure of bossa nova. These include:

Bossa nova and samba

Basic bossa nova accompaniment pattern

Bossa nova has at its core arhythmbased onsamba.Samba combines the rhythmic patterns and feel originating in afro-Brazilian slave communities. Samba's emphasis on the secondbeatcarries through to bossa nova (to the degree that it is often notated in 2/4 time). However, unlike samba, bossa nova has no dance steps to accompany it.When played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns usually contain asyncopationinto the second measure. Overall, the rhythm has a "swaying" feel rather than the "swinging" feel of jazz. As bossa nova composerCarlos Lyradescribes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". There's also some evidence indicating a musical influence of blues in bossa nova, even thought this effect is not immediately recognized in the genre structure.

Vocals

Aside from the guitar style, João Gilberto's other innovation was the projection of the singing voice. Prior to bossa nova, Brazilian singers employed brassy, almost operatic styles. Now, the characteristic nasal vocal production of bossa nova is a peculiar trait of thecaboclofolk tradition of northeastern Brazil.

Themes and lyrics

The lyrical themes found in bossa nova include women, love, longing, homesickness, nature. Bossa Nova was often apolitical. The musical lyrics of the late 1950s depicted the easy life of the middle to upper-class Brazilians, though the majority of the population was in the working class. In conjunction with political developments of the early 1960s (especially the 1964 militarycoup d'état), the popularity of bossa nova was eclipsed byMúsica popular brasileira,a musical genre that appeared around the mid-1960s, featuring lyrics that were more politically charged and focused on the working class struggle.

Dance

Bossa novawas also afad dancethat corresponded to the music. It was introduced in the late 1950s and faded out in the mid-sixties.Bossa nova music, with its soft, sophisticated vocal rhythms and improvisations, is well suited for listening but failed to become dance music despite heavy promotion in the 1960s. The style of basic dance steps suited the music well. It was danced on "soft" knees that allowed for sideways sways with hip motions and it could be danced both solo and in pairs. About ten various simple step patterns were published.

A variant of basic 8-beat pattern was: "step forward, tap, step back, step together, repeat from the opposite foot". A variation of this pattern was a kind of slowsambawalk, with "step together" above replaced by "replace".Box stepsofrhumbaandwhisksteps ofnightclub two stepcould be fitted with bossa-nova styling. Embellishments included placing one arm onto one own's belly and waving another arm at waist level in the direction of the sway, possibly with a finger click.

Notable bossa nova recordings

Albums

• João Gilberto

• Chega de Saudade(recorded 1959)
• O Amor, o Sorriso e a Flor(recorded 1960)
• Getz/GilbertowithStan Getz(recorded 18 & 19 March 1963, released 1964)

• Luiz Bonfá

• Luiz Bonfá Plays and Sings Bossa Nova(recorded December, 1962)

• Antônio Carlos Jobim

• The Composer of Desafinado Plays(recorded 9 & 10 May 1963)
• The Wonderful World of Antônio Carlos Jobim(recorded 1965)
• Wave(1967)
• Tide(1970)

• OST "Black Orpheus (Orpheu Negro)",1959
• Nova—Carlos Lyra—on Phillips, 1960
• A Bossa dos Cariocas—Os Cariocas—on Phillips, 1962
• Trio—Tamba Trio—on Phillips, 1962
• Big Band Bossa Nova—Oscar Castro Neves—on Audio Fidelity, 1962
• News from Brazil Bossa Nova—Eliana & Booker Pitman, 1963
• A Bossa Muito Moderna de Donato—João Donato—on Polydor, 1963
• Baden Powell à Vontade—Baden Powell (Brazil)—on Elenco, 1964
• Menina Rica—Carlos Lyra and Dulce Nunes—on CBS, 1964
• Zimbo Trio—Zimbo Trio—on RGE, 1964
• Entre Nós—Walter Wanderley—on Phillips, 1964
• Opinião de Nara—Nara Leão—on Phillips, 1964
• Milton Banana Trio—Milton BananaTrio—on Odeon, 1965
• Elis—Elis Regina—on Phillips, 1966

Songs

• "Manhã de Carnaval,"The morning of the carnival–Luiz Bonfa (1959), From Film" Black Orpheus "(Orpheu Negro)
• "The Girl From Ipanema"—Astrud Gilberto(1963)
• "Frau Gorbatschowa tanzt Bossanova" —IFA Wartburg
• "Agua de Beber" —Astrud Gilberto
• "So Nice" (Summer Samba)—Astrud Gilberto
• "Wave" –Antônio Carlos Jobim
• "Mas que Nada"—Sergio Mendes& Brazil 66 (1966)
• "Summer Samba" —Walter Wanderley
• "One Note Samba"—João Gilberto
• "Felicidade" —Antônio Carlos Jobim
• "Desafinado" —João Gilberto

See also

• "Blame It on the Bossa Nova"– Eydie Gorme, 1963
• Cha-cha-chá
• Rumba
• Tango music

Sources

• Carvalho, Hermínio Bello de (1986).Mudando de Conversa(in Brazilian Portuguese) (1ª ed.). São Paulo: Martins Fontes.
• Caymmi, Stella (2001).Dorival Caymmi: o mar e o tempo(in Brazilian Portuguese) (1ª ed.). São Paulo: Editora 34.
• Lopes, Nei; Simas, Luiz Antonio (2015).Dicionário da História Social do Samba(in Brazilian Portuguese) (2ª ed.). Rio de Janeiro: Civilização Brasileira.
• Machado, Regina Stela Barcelos (2011).A voz na canção popular brasileira: um estudo sobre a Vanguarda Paulista(in Brazilian Portuguese) (1ª ed.). São Paulo: Atelie Editorial.
• Marcondes, Marcos Antônio, ed. (1977).Enciclopédia da música brasileira - erudita, folclórica e popular(in Brazilian Portuguese) (1ª ed.). São Paulo: Art Ed.
• Severiano, Jairo (2009).Uma história da música popular brasileira: das origens à modernidade(in Brazilian Portuguese). São Paulo: Editora 34.
• Tatit, Luiz (1996).O cancionista: composição de canções no Brasil(in Brazilian Portuguese). São Paulo: Edusp.
• Mammi, Lorenzo (November 1992)."João Gilberto e a Utopia Social da Bossa Nova"(PDF).Novos Estudos Cebrap(in Brazilian Portuguese) (34). São Paulo: 63–70.
• Matos, Cláudia Neiva de (2015) [2013]."Gêneros na canção popular: os casos do samba e do samba-canção".Artcultura(in Brazilian Portuguese).15(27). Uberlândia: Federal University of Uberlândia: 121–132.
• Silva, Rafael Mariano Camilo da (2017).Desafinado: dissonâncias nos discursos acerca da influência do Jazz na Bossa Nova(Master) (in Brazilian Portuguese). Uberlândia: Federal University of Uberlândia.Retrieved7 August2020.
• Castro, Ruy (9 July 2018)."Gravação de 'Chega de Saudade' foi um parto, mas elevou à eternidade som sem nome"(in Brazilian Portuguese). Folha de S.Paulo.Retrieved7 August2020.
• Garcia, Walter (1999).Bim Bom: a contradição sem conflitos de João Gilberto(in Brazilian Portuguese). São Paulo: Paz e Terra.
• Garcia, Walter (22 July 2019)."Batucada do samba cabia na mão de João Gilberto"(in Brazilian Portuguese). Folha de S.Paulo.Retrieved18 September2020.
• Ratliff, Ben (6 July 2019)."João Gilberto, an Architect of Bossa Nova, Is Dead at 88".The New York Times(published 6 July 2019).Retrieved7 August2020.
• "60 anos de Bossa Nova"(in Brazilian Portuguese). EBC. 2018.Retrieved18 September2020.

Further reading

• Castro, Ruy (transl. by Lysa Salsbury).Bossa Nova: The Story of the Brazilian Music That Seduced the World.2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc.ISBN1-55652-409-9First published in Brasil by Companhia das Letras. 1990.
• De Stefano, Gildo,Il popolo del samba, La vicenda e i protagonisti della storia della musica popolare brasiliana,Preface by Chico Buarque de Hollanda, Introduction by Gianni Minà, RAI-ERI, Rome 2005,ISBN8839713484
• De Stefano, Gildo,SaudadeBossa Nova:musiche, contaminazioni e ritmi delBrasile,Preface byChico Buarque,Introduction byGianni Minà,Logisma Editore,Firenze2017,ISBN978-88-97530-88-6
• McGowan, Chris and Pessanha, Ricardo.The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil.1998. 2nd edition. Temple University Press.ISBN1-56639-545-3
• Perrone, Charles A.Masters of Contemporary Brazilian Song: MPB 1965–1985.Austin: University of Texas Press, 1989.
• Mei, Giancarlo.Canto Latino: Origine, Evoluzione e Protagonisti della Musica Popolare del Brasile.2004. Stampa Alternativa-Nuovi Equilibri. Preface by Sergio Bardotti; afterword by Milton Nascimento. (in Italian)

External links

• "It's 20 years ago bossa nova was released to the world at Carnegie Hall in New York"by Rénato Sergio,Manchetemagazine, 1982 (in Portuguese)