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"Samba de uma Nota Só", known in English as "One Note Samba", is a bossa nova and jazz standard song composed by Antônio Carlos Jobim with Portuguese lyrics by Newton Mendonça. The English lyrics were written by Jon Hendricks. It was first recorded by João Gilberto in 1960 for his album O Amor, o Sorriso e a Flor. [citation needed]
Bossa nova (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ] ⓘ) is a relaxed style of samba [nb 1] developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. [2] It is mainly characterized by a calm syncopated rhythm 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 a samba school band.
As their categorical name suggests, extended chords indeed extend seventh chords by stacking one or more additional third-intervals, successively constructing ninth, eleventh, and finally thirteenth chords; thirteenth chords contain all seven notes of the diatonic scale. In closed position, extended chords contain dissonant intervals or may ...
Considered as one of the great exponents of Brazilian music, Jobim merged samba with cool jazz in the 1960s to create bossa nova, with worldwide success. As a result, he is regarded as one of the fathers of bossa nova, and as one of the most-celebrated songwriters of the 20th century. [1]
Accordingly, Ginastera uses his signature guitar chord twice in this piece, a tied thirty second note ascending arpeggiation of E-A-D-G-B-E, representing the open strings of the gaucho's guitar. This chord, with its intensely Argentine connotations, appears "like sherbet between courses, to cleanse the palate" (Alison Dalton, violinist, Chicago ...
Powell achieved wider fame in 1959 by convincing Billy Blanco, an established singer and songwriter, to put lyrics to one of Baden's compositions. The result was called "Samba Triste" and quickly became very successful. It has been covered by many artists, including Stan Getz and Charlie Byrd in their seminal LP Jazz Samba.
Like Green, Eddie Condon played rhythm guitar his whole career without taking a solo. Allan Reuss gave rhythm guitar a place in the big band of Benny Goodman. [9] The first jazz guitarist to step from the rhythm section was Eddie Lang. Wanting to do more than strum chords for the band, Lang played single-string solos.
Fitzgerald and Pass...Again is a 1976 studio album by Ella Fitzgerald, accompanied by jazz guitarist Joe Pass, the second of four duet albums they recorded together after Take Love Easy (1973).