One Note Samba Improvisation

**merseybeat** · 05-19-2011, 06:02 AM

Attending Rich Severson guitar workshop next month and One note Samba is on the course list!

After listening to about 50+ versions of this tune one thing stands out on the first part of the A section! All those who try to make the changes on each and every chord just sound awkward and lifeless? Maybe its my ears but it just don't breathe right?

Two versions that stand out are the Stan Getz and Charlie Byrd version! and the Barney Kessel version! Both mainly constructed from the I blues scale! (first part of A section). both these versions sound so cool and spacious! Whats more they set the B section up very nicely! Dark and light kind of thing!

My point! Following each and every chord is not always music! Its way too mechanical!

JMHO

Eddie

**rlemos** · 05-19-2011, 12:56 PM

Hi merseybeat,

I couldn't agree with you more, especially regarding Kessel's solo on this tune--it is perfect. Every note counts. Kessel was a master of inserting blues ideas into standard chord progressions. This really set him apart and made everything he did swing like crazy.

If you get the chance, let us know how the Rich Severson guitar workshop goes. His instructional materials are all pretty good.

Regards,

Ron

**jayx123** · 05-19-2011, 02:01 PM

Eddie hi,
haven't seen you around here in a while and great to have you back!
I also agree that one note samba sounds better not going chromatically with the changes, even the melody hints to this by having a pivot note

**Tom Karol** · 05-19-2011, 08:28 PM

Howard Roberts did a bluesy up-tempo take on this song - not as a Bossa Nova. I think it was on, "H. R. Is A Dirty Guitar Player." Worth checking out!

**merseybeat** · 05-20-2011, 06:41 AM

Cheers guys! Big eye opener for me was this tune! I for one will treat the blues scale with a lot more respect from now on lol! There is a shed full of ii V I's in this tune to play off and using a dark blues scale sound before hitting the brightness of those ii V I is just so cool!

Eddie

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**mike walker** · 05-21-2011, 05:56 AM

But couldn't that be part of the fun, Ed?

'Hey, everyone on the course just played the blues scale over the II Vs, and it sounded great!!! Like, EVERYTIME!!??'

The fault of lack of melodicism, can never be laid at the feet of the changes.
That's just the wrong way 'round.

Imagine playing melodically over the changes and saving that bluesy stuff for the 3rd chorus. Or t' other way about.

'Just when I thought I was spent, he then slams me with this blues stuff!!!'.

Hope ya well, mate.

**solstis** · 06-05-2011, 07:22 AM

Following the changes to the A section can be particularly rewarding if you know which scales to use. For example, if we assume that the first 4 bars are | Em7 | Eb7 | Dm7 | G7b5 | , you could play C - C half-whole note - F - G half-whole note, which makes it very easy to picture. It's just V-Is.

Of course, every phrase should be well-aimed. Often, solos on A sound weird because people do not develop a line, but rather step on chord tones because they want to be sure that, at least, the notes are right

IMHO, this does not work. Logical chord-scale relationship is the most proper method for improvisation for every style (not counting free and avant-garde)

**reventlov** · 06-05-2011, 08:00 AM

The A section of One Note Samba is a substituted version of the A section of rhythm changes, with each chord lasting a bar instead of a half bar. Once you notice that, it opens up a whole different approach. When a player like Kessel plays bluesy licks over it, he's really just taking the classic Charlie Christian style 'riffing' approach to rhythm changes and other similar chord sequences, and putting it into a different context.

TommyD · 06-08-2011, 04:28 PM

Here is the most magical playing on One Note Samba that I've heard.
Tommy/

**m78w** · 06-08-2011, 04:44 PM

another great version by Brazilian guitarist Paulinho Garcia, guy kills it!

**Reg** · 06-13-2011, 10:44 AM

The musicianship or skill of making melodic lines through changes is one method or concept of constructing solos. There are obviously many, the videos are beautiful examples of rhythmic, comping style soloing, more of a solo style, and always sound very cool when covered by guitar.
I usually always start off with soloing in the basic style of the tune, the use of pedal ideas. Start with different notes, then short phrases and then try and open it up. Usually finish with simple ideas as used in beginning ... the audience or context would define the shape... length and intensity .... We should post videos and see how many directions, shapes etc... we can come up with...just a thought...Reg

**brwnhornet59** · 06-13-2011, 03:51 PM

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**merseybeat** · 07-25-2011, 02:22 AM

Just a quick update regarding Rich Severson's Yosemite guitar camp! In one word...Brilliant!!!...
Rich Severson, Todd Johnson, Barry Zweig and Mike Dana gave me enough information to last me a life time! Great thing is they work you so hard that you actually retain it! They also corrected what I feel was my biggest fault! Believe it or not I was picking way to hard! So turning an amp up hot so I had to pick so delicate to compensate? and guess what? Within two hours I was picking so smooth and fluid even I was impressed!

I cannot recommend this course high enough! Its hard work but these guys are on another level and the good bit is, they want you to be too!They really care!!!

Eddie