BOSSA NOVA is beautiful! (and why every guitarist should know the basics)

I recommend all

guitarist

s to learn just the

basics

of Boss andova. This is Dominic Miller,

guitarist

and songwriter

know

n for his work with Sting, with a very impressive discography that includes some of the most famous guitarists in the world. He is well versed in many different genres. I have here completely impossible chord shapes that even the original guitarist tries to avoid when he plays them live. No, I thought that's not true, but it's actually true. Here in Amsterdam I am here with Davids and I am determined to strike the right chord. in Shape of My Heart, well that's the short story, but today Dominic shows me the

basics

of his first love, the NOA bosan, it's all about touch and once you have the basics of bosa

nova

, there are many places which you can go from there if you can understand the basics of this chord sequence then you complain about any bosson before it could do anything.

I had learned to play Simple, it's a lovely rhythm, yes that's the C's in corov aka quiet nights. quiet nights Quiet Stars on my guitar is a great way to start over with B. I think we

should

start by playing the first chord. Can you tell me it's okay? And then the rhythm, the rhythm is where

every

thing relies. The rhythm is the rhythm.

every

thing's back, you have to relax, you

know

, I'm always in a hurry, so this will be my no, but we all rush, but the thing is, it's really super relaxed, it's like one 2 3 4 keeps playing, that's it. you get the feeling, that's exactly like that, so it always comes back, it just comes back, you're seduced by this kind of GrooVe there's nothing like it, it's keeping secrets, that's like M, that sounds, what's happening is right, so we take a D7 chord here.

Yeah, and all we do is alternate that base, yeah, just playing the bass and sometimes you like to keep it really simple, so it's all in the rhythm, so it's like that's a rhythm. Okay, I have this one and the other beat is push, except the bass, yeah. stays normal, which is cool, I really like that rhythm and the third NOA boson rhythm that I really like is yeah, which is kind of very staro, so there are three favorite rhythms, so it's just a matter of mixing and combine, so I'll give you an example of how to do a combination of the three so that you have 1 2 3 4 yeah, you know what I mean, isn't it lovely?

It's a great foundation for someone to improvise and solo, but if you were like, say, a blues guitarist or had a pentatonic vocabulary, which is great, you would find yourself using that vocabulary in a completely different way, just blow on them. , but it's like really relaxed in a jazz kind of way. You know what I mean, this whole thing I guess is a D minor pentatonic, yeah, exactly interesting on the D chord, yeah, yeah, that's cool because I'm actually thinking of that chord as an A minor chord, yes, let's say it. in the context of the chord progression, so because we got that D9 basically but let's go to G minor c7mo I C F major 7th okay with the same cool rhythm, great man, that's

beautiful

, I mean, you can stay in the pentaton, but If you wanted to go a little more seriously, you could follow the chords, yes, but that doesn't bother me.

If you do it too much it becomes too technical and too robotic, sometimes the best improvisers are the ones who don't do it. Think about the cables, they're the ones that just do it from the body and it's also more like I always say a horizontal approach versus a vertical approach like the horizontal approach where you tell the story absolutely well and if you focus too much on the courts. history is lost. I totally agree, so we can also extend the pitches with one more note on that string yeah, you're going to D. I saw you play before D9 like that, yeah, yeah, so before we add the melody, I think we can add a more extension. to the chord so we can, yeah, and then do a little measure there, which is a little tricky, half a measure, yeah, yeah, yeah, not everyone likes that I can pull it off, you know, you could do a full measure, but I think it's a waste of energy yes, yes, never, yes, yes, it's quite just a normal M 7, yes, yes, quite oh, but I think it's a bit elegant, sharp, 11, yes, spicy, I don't you need still, no, okay, so the last part is adding the melody that you played well.

If you want to add the melody, you have to give up something because you can't do everything, so let's say we're not going to do the whole baseline, let's do it on A minor 6, the first chord, so just so we can get the melody , what I want is two 3 4 1, that's what I want in that first chord, okay, but how do I get it? So the only way is to keep going okay yeah you know what I mean so we play four on D and five and five on G and B with the string open okay now you can alternate between D and E on the string from B, yeah that's what you need to figure out, yeah that's what you're good at, that's great and then move on. to this chord keeping that beat of yes, yes, the same on the top, so that's the only thing that changes is the base, oh, and this note, yes, yes, and then G 7, actually, yes, okay, okay, then we too, here we have to give up something. like again, so we're not playing with a root node, we're not playing with C, we're just going straight to the ah a d c yeah and then oh F oh, you know what's a little shocking Yeah, so I would go have this for yeah alone, there's nothing wrong with having Melody alone, sometimes it's very

beautiful

, yeah, and then you can breathe, okay, that's it, yeah, oh we didn't stop, so before we go into the sun minor, we reach that high sun.

Yes, what do you want? Oh, you could, yes, it's an option. The optional note is always good, so if you feel like doing it, I would have it in its standalone mode, yeah, oh, okay again, just with the F and then yeah, I think I

should

do it. I'm always afraid of the single, but actually it's like the voice, suddenly the band leaves and the voice is left alone, there's a lot to say about it, yeah, like arranging, because you know, playing a solo guitar. It's a bit like a mini orchestra, you are the band, yeah, sometimes the players just need to relax, so for me, yeah, the B comes after this, yeah, that's cool, yeah, and then I think that That's all, we shouldn't force it. too far, okay, Melody, okay, yeah right, you got it, okay, you only have to play it 10 times before you can really start to feel and start to think well, sometimes before you do something.

I think the best way to approach these types of tunes or any tune really is like just sitting there for five minutes and just going, yeah you can even make a phone call while you're making or reading a book, but it's like it's a trance, like all music has a kind of trance and this, that's this trance, yeah, and then it's cool how you have to move a little to the right, it's beautiful, isn't it, but that's the most important thing in instead of just yes, don't play like some kind of classical musician you have. to really relax, relax with this and imagine that you are like in a restaurant with a I think it's your girlfriend or your that's exactly what makes you such a versatile guitarist and very distinctive in your sound, you combine all these Chamas together, you have the rock sound of henrix but you also got the classic sound and precision of a classical performer but also hopefully the sensitive touch of that Brazilian uh repir.

I'm very lucky to have been exposed to so many types of music. but that's what I do with the final product, I'm a bit like a character actor, I put myself in different situations and none of them are really authentic, you know, you should never say that, but actually none of it is authentic, right? OK? but it's just me putting myself in character, you know because you know the real me doesn't exist, it's like a combination of all those things, how real you are is what you really end up writing, yeah, as a musician, what you write is It represents who you are as a musician, yes, but this helps if you play a lot of these different genres, your writing always adapts to that, but I recommend all guitarists learn just the basics of Boss A

nova

.

Well, I really do because it's a double. Sword of edge you're going to learn about touch and you're going to learn about jazz chords and touch, it's all about touch and once you have the basics of bosanova, there's a lot of places you can go from there, yeah , really. I got excited. I think I'm going to loop this progression of the score and then just play it to find different voices. Thanks a lot Dominic, hey thanks Paul, it's been good hanging out. We should absolutely do it one more time. Oh, sure, yeah. uh grab a cup of coffee and take it somewhere and I must say you're a very good baker oh I like the bread you make yeah he makes his own bread guys I've been playing my heart out and the only one stuff. he compliments me on baking, no, no, I love that you touch on your technique and all that kind of stuff, no, but it's great to hang out, yes, anyway, greetings, friend, have a good day, until then.

I think my favorite will be you. and me playing together