Trombone

Basic patterns (Maxixe):

2 ‰.
comping &4 ≈ Û Û ‰ Û Û ‰ Û Û ≈ Û ≈ Û Û
J R J

bass
? 24 Û Û Û Û Û Û. Û Û Û Û

3. Samba
Samba evolved from maxixe around the 1920s. Two elements were crucial for the defi-
nition of its style: the patterns created by new and old percussion instruments that
would later form the bateria (percussion ensemble), and the development of a two-bar
pattern played by the guitar, differentiating it from the one-bar pattern of the maxixe:

& 24 Û Û Û Û Û Û Û Û. Û ..

There are several patterns that can be used for samba. Most often samba is played with
a two-bar pattern, one articulating the downbeat, the other with a 16th-note anticipation.

& 24 Û Û Û Û Û Û Û Û Û Û .. & Û Û Û Û Û Û Û Û Û Û ..

There are different types of samba that differ in instrumentation, patterns, function,
vocal style, tempo, etc. The most well-known derivations are the samba-enredo, samba-
choro, samba-canção, gafieira, samba-de-breque, samba-de-roda, pagode, partido alto,
and samba-funk.

4. Partido Alto
Originally, the term partido alto refers to an old style of samba with a fixed refrain and
improvised choruses. This samba style has most recently had a comeback. During the
70s though, the term partido alto began to be associated with its particular rhythmic
pattern in non-vocal music as well, and to be performed in particular by instrumental
ensembles with drumset and bass. It is often used in, but not limited to, a pop or funk
context. The partido alto pattern can start in either measure of its two-bar pattern. The
melody determines which one should be used:
C7 C7
comping & 24 Û Û ÛÛ Û Û Û. Û Û .. .. Û Û . Û Û Û Û ÛÛ Û ..

bass
?2 œ œ œœ œ œ œ. œ œ .. .. œ œ . œ œ œ œ. œœ œ ..
4

perc. ÷ 24 œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ . . œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ .
œ œ œœ œ œ œ. œ œ . . œ œ. œ œ œ œ œ œ œ .

9
Brazilian and Afro-Cuban Jazz Conception
Trombone

The partido alto pattern is often simplified, with rhythms split between bass and
accompaniment that plays the accents:
C7 C7
2 > > > >
comping &4 ‰ Û Û ≈ Û. Û .. .. ≈ Û . Û ‰ Û Û ..
J J J J

bass
?2 œ ≈ bœ œ œ .. .. œ œ ≈ bœ œ ..
4 bœ nœ bœ nœ
> > > >
perc. ÷ 24 œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ . . œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ .
œ œ œ œ œ œ œ. œ œ . . œ œ. œ œ œ œ œ œ œ .

5. Samba-Funk
Samba-funk often uses the partido alto pattern (see above) with a funk feel. Variations
of the partido alto pattern are also used with or without funk or pop feel. You can also
create a samba-funk feel by using a regular funk groove and adding samba percussion
instruments and patterns on top.

Example of variation:
C7
2 >. >
comping &4 Û
≈ Û Û ‰ Û Œ ..
J J

bass
? 24 œ œ ..
bœ œ œ bœ .

6. Bossa-Nova
Bossa-Nova evolved around the late 50s by middle/high class musicians that used
samba patterns with jazz harmonic progressions and chord tensions. It uses two and
one-bar pattern, and has a concept of integration where all instruments and vocals are
balanced in function and dynamics. The rhythmic accompaniment (and vocal style)
created by João Gilberto mixed transparent and clear patterns where the harmonic
voicings of progressions were as important as the melody.

Examples of one-bar patterns:

comping & 24 Û Û Û Û Û .. .. Û Û Û Û. ..

bass
? 24 Û . Û Û. Û .. .. Û . Û Û. Û ..

10
Brazilian and Afro-Cuban Jazz Conception
 Trombone

II. CUBAN
Unlike Brazilian music, Cuban music evolves around a two-measure rhythmic pattern
called clave.

The clave is a rhythmic cell that is organized in either 2–3 or 3–2 patterns. They are
the basis of complex polyrhythmic structures in Cuban music, into which the other
rhythmic and melodic elements should fit. The pattern of the clave is played on a pair
of round wood sticks, also named claves.

Son Claves:

2-3 Clave 3-2 Clave

÷c Œ Û Û Œ Û. Û Œ Û Û. Û Œ Û Œ Û Û Œ
J J
1. Son and Son-Montuno
Many Afro-Cuban music styles have their roots in the son. There are many types of
son: afro-son, guajira-son, rumba-son, and others, including what we know today as
Salsa. The son is characterized by the clave, and the tumbao, a typical bass line and
conga pattern. Note that the bass line always anticipates the bar line by one quarter-
note.

bass
?c œ œ œ
œ œ œ œ œ œ œ

clave ÷ c Û. Û Œ Û ‰ Œ Û Û Œ
J J
P T S T P T O

conga ÷ c œ œ œ œ œ œ œ œP œT œS œT œP œT Oœ Oœ

O = Open tone P = Palm T = Finger tips S = Slap

If the piano plays a pattern called montuno, then the style is referred to as son-mon-
tuno.

Example of 2–3 Son montunos:

F Bb C7 F
j j j
comping & b c œ œ
jœ
œ œ œ œ œ œ œ œ œj œ œ œj j j
œ œ œ œ œ ..
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

bass
? bc œ. œ œ. œ œ. œ. ..
œ. œ. œ. œ œ. œ

clave ÷ c Œ Û Û Œ Û. Û Œ Û Œ Û Û Œ Û. Û Œ Û ..
J J

13
Brazilian and Afro-Cuban Jazz Conception
 Trombone

RHYTHMIC AND MELODIC INTERPRETATION

There are different ways one can interpret the rhythms of any given melody in the
styles presented in this book. First you need to get familiar with some of the typical
rhythms that are often seen in Brazilian and Afro-Cuban music.

Common rhythmic figures

Repeat each figure several times in a loop. Practice them first using one single note.

÷ 24 Û . Û Û . Û Û Û Û ÛÛ Û ÛÛ ÛÛÛÛ ÛÛ

Now work on some of the rhythmic variations that are constructed either by using ties
and rests or in combination with other rhythms:

1 2 3 4
÷ 24 Û . Û Û Û Û. Û Û Û ‰. Û Û. Û ‰. Û Û Û
R R

5 6 7 8
÷ ≈ Û Û Û Û ‰. Û ‰ Û Û Û Û. Û Û Û ≈ Û Û
R J

9 10 11 12
÷ ≈ Û Û ≈ Û Û Û Û Û Û Û Û ≈ Û. ≈ Û. ≈ Û Û Û ≈ Û Û Û
J J

13 14 15
÷ ≈ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û. Û

Length of syncopated notes

They can vary depending on tempo, style and personal interpretation. In faster tempos
the tendency is to shorten syncopated notes:

This written rhythm…

÷ 24 Û Û Û Û Û Û. Û Û Û

…could be played like this: or this:

÷ 24 Û Û ≈ Û Û ‰. Û ‰ Û ÷ 24 Û Û ≈ Û Û Û ≈ Û ‰ Û
R J J
15
Brazilian and Afro-Cuban Jazz Conception
 Trombone

C Funky Samba
Tracks
04 to José Bertrami
– Partido Alto/Samba Fernando Brandão
19
q = 84
B bΔ
Intro Û Û ≈ Û Û Ó E bΔ
œ ˙ œ ˙
? b 2 .. œ œ œ œ œ œ Œ
b 4
(Piano: sustain) Bb pentatonic

B bΔ
œ ˙ ˙ œ
6 œ œ œ œ œ œ. œ
? bb Œ
D– triad

E bΔ (2nd x)

11
œ .. œ œ œ œ œ œ
? bb ˙ ∑ R ˙ Œ ≈ ..
Partido Alto (see p. 9/10)
A B bΔ
Û Û ≈ Û Û E bΔ
17 œ. Û Û œ. œ œœ œ œ œ œ # œr œ
? bb ≈ J Œ Œ ≈œ œ ≈J Œ Œ ≈ œ ‰

œ œ B bΔ
23 ˙ œ œ
≈ œ œ
? bb œ œ œ œ œ ‰
Œ ≈ ≈ ‰ J ‰
R ΠJ

E bΔ r
28 œ œ œ nœ œ œ ˙ œ œ
? bb ‰ œ œ ≈ œ œ œ
‰. R

Samba
B Aø D7 9
b G –7
33 œ œ œ œ nœ bœ ˙ œ œ œ œ œ œ
œ œ
? bb ‰ ≈ ≈ œ

C 7 11
# F 7 sus 4
39 œ œ œ œ œœ œ œ œ œ œ œ œ
? bb ˙ œ
≈ œ œ
≈
œ
≈ ≈

20 ©2006 advance music, all rights reserved

Brazilian and Afro-Cuban Jazz Conception
 Trombone

A b 7 sus 4 œ bœ œ
45 œ œ bœ œ œ bœ bœ . bœ œ . œ œ œ œ bœ œ nœ
? b ≈ ≈
b

A2 E bΔ
œ B bΔ œ œ œ œ œ œ
49 œ œ œ œ œ œ œ
? b ≈R‰ Œ Œ ≈ J ‰ ‰ ≈ ≈
b

B bΔ Sequence in 3/8
œ œ œ œ œ. œ
55 œ œ œ œ œ œ œ œ œ. œ ≈ œ œ
? bb J ‰ Œ ≈ ≈ ≈ ≈
Change on 4th x …

E bΔ
60 œ r
? bb œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
Œ ≈ œ Œ
…followed by throughout syncopated phrase.
B2
Aø D7 9
b œ œ #œ œ
#œ
65
? bb ≈ nœ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ #œ nœ œ œ œœ

G harmonic minor scale

C 7 11
G –7
#
69 œ œ œ œ nœ #œ
? bb œ œ œ Œ ‰. R œ œ
Œ
3

F 7 sus 4 Eb triad
73
œ œ œ œ œ œ œ bœ
? bb Œ œ œ œ œ œ ≈

A b7 sus 4 bœ œ œ œ B b6 œ
77 œ œ bœ b œ œ
? bb r
bœ nœ œ œ. œ œ . bœ ˙ ≈ bœ ≈R‰ Œ
(unison)
Gb triad

©2006 advance music, all rights reserved 21

Brazilian and Afro-Cuban Jazz Conception
 Annotations and Exercises

FUNKY SAMBA (p. 20)

Points of interest:
• Development of a 3-note motive at the beginning of A (mm. 18–19) through sec-
tions of the piece.
• The simple harmonic progression provides the opportunity to explore rhythmic
ideas without worrying about changes. Try using pentatonic scales on this piece.
Below there is a map of 7 different pentatonic scales.

Pentatonic scales and examples of matching chords:

Major Major b6 Minor Minor 6 Half- Diminished Whole-tone
diminished

C Bb7 (#11) A–7 A–6 Aø Ao7 D7 (#11)

The first row shows how pentatonic scales relate to each other, key and note-wise. The
second row shows pentatonic scales for different chords with root on C. Note that for
C7#11 the root of the pentatonic is D, not C.

B b7 11 Aø A o7 D 7 11
C
# A –7 A –6
#
? œ œ œ œ œ œ œ œ œ bœ œ œ œ #œ b œ œ b œ bœ #œ
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ
(Root)
Substitute 6th by the b6th Substitute 5th by the b5th Substitute 7th by dim. 7th

Substitute root by b5th of dominant chord

C 7 11 Cø C o7 C 7 11
C
# C –7 C –6
#
? œœœœœ bœ bœ bœ œ œ œ bœ œ bœ bœ bœ œ bœ œ bœ
œ œ #œ œ œ b œ œ œ
œ œ œ œ œ œ # œ
(Root)

Explore different sequences with pentatonic scales. Below there are four examples with
ascending sequences.

Groups of 4
œ
?c œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ

Groups of 3

œ œ œ œ œ œ œ
? œ œ œ œ œ œ œ œ œ

Skipping one step up and moving one step down

œ œ œ œ
? œ œ œ œ œ œ œ
œ
Skip, skip up, double-skip down (mostly in 4ths)
œ œ œ œ
œ œ œ œ œ œ œ œ
? œ œ œ œ

49
Brazilian and Afro-Cuban Jazz Conception
Annotations and Exercises

Exercises:
1. Write corresponding descending sequences for the above exercises.
2. Using the above sequences, transpose, write down and practice the following pen-
tatonic scales:
a. For both BbΔ7 and EbΔ7 use Bb, F pentatonic scales
b. On Fsus4,7 use Eb or Bb pentatonic and on Absus4,7 use Gb or Db pentatonic
scales
c. On Aø try C–6 or Aø pentatonic scales
d. On D7b9 try A diminished pentatonic scale
e. Over C7#11, try Lydian b7 or the pentatonic scales of D (b6) or Gb whole-tone.

Lucas’ Cha-Cha (p. 22)

Points of interest:
The phrase in m. 10 uses the Eb pentatonic scale with a specific pattern: skip up, skip
up, double-skip down. This non-linear pattern creates intervals of mostly 4ths and a
more contemporary sound to the pentatonic scale.
Eb pentatonic
œ E b9
œ œ œ œ bœ œ œ
? bc

The ascending melodic line in mm. 30 through 35 is characterized by a tension on the

downbeats followed by the resolution of the next note. Sometimes the same note cre-
ates different tensions on different chords:

E –7 A 13 F 9 sus
? b #˙ œ #˙ œ ˙ nœ bœ T = Tension
nœ œ R = Release
T>R T>R T>R

Exercises:
1. Explore tensions on each chord of the A section (D–7,9 and Eb7,9), but watch for
uncommon notes between them (D, Eb, E, Bb and B).
2. Memorize the pentatonic pattern above and apply it to different chords in this
piece.
a. For D– : use D– and A– pentatonic scales
b. For Eb7: use Eb pentatonic scale. For extra challenge try Bb–6, Gø, F(b6)
pentatonic scales (see exercises/comments on Funky Samba).
3. The B section provides a series of II-V progressions (G–7 - C7, F#–7 - B7 and E–7 -
A7). Transpose any of the existing lines to the different progressions in the piece.
For example, transpose the phrase from mm. 19–20, G–7 - C7, to F#–7 - B7 and
E–7 - A7:

G –7 C9 F # –7 B9 E –7 A9 DΔ
? b c œ . œJ ˙ ˙ œ œ œ œ œ . # œJ # ˙ ˙ # œ œ œ # œ œ . œJ n ˙ ˙ œœœ
#œ #w

Transposed from previous phrase

Transpose phrases from the following measures:

21–22; 23–25; 31–32; 51–52; 53–54; 56–57; 59–60; 61–62; 63–64;

50
Brazilian and Afro-Cuban Jazz Conception