Bossa Nova Insolita

Written in 2009, Bossa Nova Insolita represents a modern revival of the traditional Bossa Nova.

Bossa Nova Insolita

Doesn't ANYONE have anything to say about the Bossa?

I do! I really enjoyed your melody and simple chord changes (this is great for blowing over). What were you going for in writing a C part, F, Eb, etc...? I would probably be more specific. Instruments pitched in F are rarely in a jazz combo or ensemble, but maybe you plan to use this in a piece for band or something. Now, I think it's uninteresting to constantly use all instruments in the melody and backgrounds, not to mention you always use parallel motion. Switch it up. What if you give the harmonized melody to saxes and use brass for fills? What if you have a countermelody? What if all instruments cut out during part of the solo so that you can hear the soloist better? Also, you haven't written ad lib. or used the bis (phrase repeat) symbol, which implies that you don't want deviations from what you have written, particularly in the bass, piano, and drum parts. If this piece is meant for jamming and improv, less notation may be better.

You have a good start with this piece, but I want to hear more!

Totally in agreement with Black Orpheus about you have a great framework. What is missing of course is the improve which may make or break the engagement you get from the listener. What may solve it is simply break up the improvs and offer a middle contrasting section with the suggestions from Black Orpheus.

Also, you will NEED to have instruments cut out - the soloist will have to play at least mf to be hear thru and that can get tiring so be more varied with your textures.

In sum you have a piece you can jam framework that could just use some thinning out of textures and a little more contrapuntal interest at times (nothing too intricate just some contrary motion or oblique motion again the percussion). Your rhythm and contour of the melody is great and the harmony is fine (in fact you could use a slight bit more of dissonance to my ears but it is fine.

Nevertheless I stick with my first assessment - break up the improvs by having 2 in what you have, a contrasting section which as I write could really benefit from some of the overlapping call and response and resultant rhythmic patterns you get with salsa instrumental interludes and then returning with what you have with two improvs from two different instruments.

I would think that more variety, with some variation or improvisation of instruments ....

the rate could be varied by maintaining the base and intensify the bass

harmony could be spiced by the more jazz chord

Okay, I think this bossa nova is pretty solid. I don't know about it being a "modern revival" as it seemed pretty standard bossa nova to me, but nonetheless a good piece albeit with a very simplistic chord structure. The melody made it quite nice. Quick note: bar before C make at least the first two notes on off beats.

(disclaimer: I play in combos)

About what you actually wrote: You didn't write any harmonies or melody/accompaniment parts in the instruments, so presumably this is a lead sheet, not an arrangement. I also presume that you either play in combos or that you don't and thus don't really know the format of a lead sheet.

First of all you don't have to write one part in every conceivable keyed instrument. Write the melody in C (including the background part you wrote at D). Second, if this were a full band arrangement, you'd give every instrument except the drums chord changes, especially the bass. And the drums slash notation. The groove you wrote isn't particularly fascinating, so just write on his part "bossa nova." But this is a lead sheet, so hold that thought.

Finally, put a big forward repeat at A backward repeat at B. Traditional form is AABA, not ABA.

Now, format. Lead sheets usually have one staff: the melody with chord changes, with a style and tempo marking at the top. Since your chart starts by establishing the groove, this is doable by writing the bass part and piano part for four measures (which you should incidentally turn into a vamp, if you want to really be traditional) and then drop them to start writing the melody. They will figure out the rest (including notes, voicings, etc). You can do that again for the last two measures since you have a specific ending in mind, but actually by writing in cues you should be able to do it on one staff there. And forget the drums, he knows what to do.

Once the melody begins, you only need ONE staff, the melody. You've already told the rhythm section what to do. Write in the chord changes through the melody and you're completely set. Put your "solos" marking at D and you're also set there, keeping it on one staff.

Believe it or not, I don't see why this piece shouldn't be able to fit onto one (uno) page. Two at the very max.

Hope that helps!