O Barquinho - Bossa Nova Guitar Lesson #27: Advanced Rhythmic Phrase 7333

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Bossa Nova Guitar Lesson #27: Advanced Rhythmic Phrase 7333
in
O Barquinho (Roberto Menescal, Ronaldo Bôscoli)
as played by João Gilberto on album João Gilberto from 1961.

This phrase is played in the same way as 7443 phrase from O Pato lesson. All 16th notes except beat 12 are played with legato, while all 8th notes and beat 12 are played with staccato. All 8th notes are muted by lifting the left hand fingertips off the fretboard, while beat 12 is muted by planting right hand fingertips on strings at the same moment the bass (on beat 13) is played. In addition the right hand thumb may be planted on bass string when the last 16th note (beat 16) is played to reinforce the muting.

Note that the second 8th note in the pattern '1' in most of the phrases are played in the following way:
1212 and 1213 - legato
1313, 1333, 3313 - staccato (except in the ending 1313 part where it is played as above)
This type of staccato phrasing is something that João used often in his first bossa nova albums and can be also found here in other lessons, such as Chega de Saudade, Bim Bom, Samba da Minha Terra and some others.

Enjoy playing O Barquinho!

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I am very grateful for these videos and lessons on your website. Thanks to you I have learned my first bossa nova songs on guitar, and through that developed a love for this music. I think its safe to say, I'm not alone in this! Absolutely terrific content! Thank you, and keep on posting!

risto

Oh thank you thank you! I’ve been waiting for you to start posting again. Love bossa and have been looking for a way to learn to play jazz guitar for ages till I found this channel. Incredible

yingxchian

Thank you for this perfect lesson! I‘ll always be grateful. Your videos helped me get into Bossa Nova much quicker. Thank you, sir!

gasfe

Thank you so much for this lesson ! You are a great teacher !

jean-baptistedijon

The strange thing about it is that I enjoy the sound and the way the chords change each other, with out even knowing the original song itself. Very good lesson to practice. Thank you.

Dmitry_Kuzmichev

Ei mestre, fico sempre feliz de ver seus videos. Obrigado pela aula e Abraços.

felipemendes

Obrigado, continue com esse trabalho lindo!!🙌🏾

gabrielveloso

Have spent the last hour working on this and have pretty much got it (although I don’t quite have your right hand). Thanks for another excellent video, and for making my Sunday.

bradstock

I hope I can play this beautiful piece one day

WasabiSoySauce

my favorite channel on YouTube back at it again! thank you for inspiring me and many others to play this wonderful genre xox

alfr_ruiz

The song modulates from G-F-Eb-G (I to bVII to bVI back to I.)

What bossanovaguitar has is different from what's in the Real Book (I was looking at 5th ed.) but Real Book interpretations are often vague anyways and you can tell this sounds faithful to the original. Thanks bossanovaguitar for all your hard work!

Intro
GΔ7 = I
G6 = I, tonic expansion.
Bb-7 = bIII-7, tonic expansion I think. It's also the upper structure of Gdim7.

Verses:
The I tonal area: (GΔ7 - G6 - Gdim)
GΔ7 = I
G6 = I, tonic expansion
Gdim = idim (iidim to F maj), this is a passing diminished chord (that is to say non-dominant or non-leading tone function)

The bVII tonal area: (FΔ7 - F6 - Fdim)
Same harmonic functions

The bVI tonal area: (EbΔ7 - D7sus4(4/3) - G#7-5)
EbΔ7 = I
D7sus4(4/3) = An interesting evaluation. The harmonic function you see in the Real Book for this phrase is EbΔ7 to A-7 to D7 (in G: bVI to II-7 to V7), which is a descending 5th sequence. The chord is spelled |5x553x| or A-G-C-D. I would say that a D7sus4/A (A-D-G-A-C) isn't inaccurate tonally speaking. It seems more likely to me to call it an Am11 (A-C-[E]-G-[B]-D) and keep it in the II-7 tonality. I suppose you could just consider the D7sus4 and G#7-5 chords as part of the V7 tonality.
G#7-5 = An interesting evaluation. It seems like an altered subV7. The V7 (D7) would be (D-F#-A-C), the subV7 (G#7) would be (G#-B#-D#-F#). The -5 gives us D, which along with the F# are shared by the resolution chord B-7 (B-D-F#-A). Very interesting to me.

The I turnaround:
B-7 to E7(b9) to A-7 to D7b(9) (in G: III-7 to V7/II to II-7 to V7/I)
Adim is an upper structure to D7(b9)

Ending chord:
E maj (in G: VI). Not sure exactly how to analyze this. Direct modulation to E major?
The melody note is an F# and I can hear a D in the Joao Gilberto version so maybe it's more like a Emaj9 (E-G#-B-D#-F#)

Feel free to add to this.

coman

amazing as always, please please do “lobo bobo” by joao gilberto please

AMVM

Wow, I don't know if it was already on your list, or you actually took my sugestion, but thank you so much for this video, this is one of my favorites

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