I know that some Fodera owners have been searching for the info about 2009 and later Mike Pope preamp that was posted on my old website. I have moved the file to this domain. Here is the link. http://www.bassroots.net/foderapreamp.pdf
- Part One
This is intended as a method of soloing over “Wave” by approaching it as a jazz blues instead of as a series of unrelated chords! For any instrument, not just bass!
I played Jobim’s “Wave” many times before I realised that the A section is a jazz blues in disguise. This came to me one night when I soloed over it without thinking about the chord changes.
I wondered if everyone else already knew that but me. I asked a lot of my musician friends and only two of them said “yes’, and I think one of them was lying! Of course, you may already know this , in which case there is no need to read further.
If you are still reading we’ll take a look at this. Wave has a typical AABA form, but the first clue is that the three A sections are 12 bars long, instead of the typical 8 bars.
Let’s listen to the A section played in a swing style. I entered the chord progression in Band In A Box and selected a Basie style combo to illustrate this, but to me this is clearly a blues when played in any swing or shuffle style.
For this video I have notated the chords on the top line. The simple key centres are on the second line. The chords as numerals are on the third line. No need to read them ,but, if you want to read them, there are three choruses, or one for each line.
Take a listen
I hope you can now hear this as a jazz blues! If you can, from now on you will never be able to unhear it this way!
How does this help us? As a bassist I generally play the roots as written, but hearing this section as a blues opens up a whole spectrum of possibilities when soloing. With discretion we can be free to use almost any combination of jazz blues substitute chords for solo ideas over the “Wave” changes! Scroll down to Part Three for an example!
Conversly it’s also it’s fun to take some of Jobim’s changes and use them when soloing on a jazz blues!
Part one A.
Let’s look at the disguises that distract us from hearing Wave as a blues. The obvious distraction is that we are not used to hearing a blues bossa nova! To examine the harmonic disguises, the first two bars are critical. If it were a standard blues we would expect a D7 in the first bar, not a maj 7.
Then we are immediately distracted from a standard blues by the Bbo in the second bar. But the Bbo is functioning as A7b9 with a Bb root, or a quick V chord.
In a jazz blues context it can be regarded as a quick II V.
Bars 5 & 6 take us to the IV chord, again disguised by avoiding the use of the typical blues b7. Bars 7 & 8 take us back to the key centre of D by starting a cycle of 4th’s progression from the III chord ( III VI II V) with bars 9 & 10 falling in place for a typical blues II V turnaround resolving to the I. The quick Bb7 in bar 10 is a typical blues adornment and also a nice reference back to the Bbo in bar two, opening up similar harmonic possibilities. Note that Jobim further disguises the core blues harmony by using non diatonic chords ( F# and E major instead of minor). For soloing a D major chord can substitute for the F# in bar 7.
Ignoring the musical diguises we can see the roots of the 12 bar progression as
I , II V , V , I, …. IV, IV, III, VI, ….. II, V , I , I .
If you’ve stayed with this so far I’m sure you have other ideas! Now stop thinking and have fun!
Joe Hubbard has an excellent video at Joe Hubbard “Rants & Raves- Episode 8 (with “Wave” ) ”
Short video version of part one.
Part Three. ~ Jobim. Bird & Toots.
I am guessing that the chord progression for the A section of “Wave” (recorded 1967) is at least partly derived from Charlie Parker’s “Blues For Alice” (1951) . Toots Thielemans used the “Blues For Alice” changes for his composition ” Bluesette” in 1961 and there could be little doubt that Jobim was familiar with one or both or these compositions.
Compare and decide for yourself, then scroll down for a short video of a solo using the “Blues For Alice” chords over the “Wave” chords.
Solo using “Charlie Parker’s “Blues For Alice” chords over Jobim’s “Wave”. I am soloing using the chords to “Blues For Alice” notated in the top line of the captions. The backing track uses Jobim’s chords to “Wave” notated in the lower line of the captions.
Video of Parts 1 & 2
Thanks for visiting! Please comment and / or share!
This is for working musicians and sound engineers. many of these words are not easy to find in dictionaries. Please contribute or suggest any additions or corrections .
accent = acento m.
accidental = alteración f.
amplifier = amplificador m.
bar = compas m
bar line = barra, linea divisoria
bass drum = bombo m. tambora f.
beat = tiempo m.
board / desk = consola f., mezclador m.
body (guitar) = cuerpo m. caja f.
boom ( stand) – jirafa
brass = metales m.
bridge ( song or guitar) = puente m.
channel = canal m.
chart = partitura f., papele m.
chord = acorde m.
chorus = ( choir or song) = coro m.
cover band = grupo versátil m., grupo de versions m.
crossed (clave) = cruzado / a
crossover = red de cruce f.
crosstalk = diafonia f.
cut (level) = v. atenuar , n. atenuación f.
cymbal = platillo m.
dep (UK) = suplido (m noun), suplir (verb)
disc jockey = pincha discos
drum head = parche de tambor
drum stick = baqueta f.
effect = efecto m.
eighth note = corchea f.
electricity = luz f., electricidad f.
equalizer = ecualizador m.
feedback = acople(s) m, realimentación f., chillida f.
fingering = digitacion f.
flat (eq) = plano
flat = bemol
flightcase = caja de transporte f.
FOH / front of house = sistema principal f.
fret = traste m
fretless = sin trastes
gain = ganancia f.
gig = tocada f., actuación f., hueso m. ( huesito = little gig)
half note = blanca f.
head (amp or tape) = cabezal
head ( guitar) = clavijero m
hiss = soplido m.
horns = metales m.
impedance = impedancia f.in tune = afinado, a tono.
jack plug = plug m.
jack socket = jack de salida m.
jam, jam session = palomazo m.n. descargar v., descarga f.n.
jobber = huesero/a
key (instrument) = tecla f.
key = tono m, tonalidad f.
key signature = armadura de la clave f.
keyboard = teclado
keyboardist = teclista , tecladista
kick drum = bombo
lyrics = letra f.
major = mayor
meter (electronic) = indicador m.
mic = micro m.
middle C = do central / do medio
minor = menor
mixing board / desk = consola f, mezclador, mesa f.
mode = modo f.
modulate = modular
monitor = monitor ( de scenario)
music stand = atril m.
mute = v. mutear n.enmudecimiento
natural sign = becuadro m.
neck = cuello m.
neodymium – neodimo
note = nota f.
nut ( guitar) = cejuela f.
ohm = ohmio m.
out of tune = desafinado
passing tone = nota de paso f.
perfect pitch = oido absoluto
pick (plectrum) = pua f.
pickguard = golpeador m.
pickup = pastilla f.
piezo pickup = captador piezoelectronico m.
power = potencia f.
power (electricity) = luz f., electricidad f.
powered (speakers) = auto amplificado
private gig = evento m.
quarter note = negra f.
rehearsal = ensayo m.
repeat = n. repetición f.
rest = silencio m.
scale = escala f.
screen = pantalla f.
sharp – sostenido m.
sheet music = partitura, papeles
sixteenth note = semicorchea
snake = culebra f.
snare drum = caja f.
soundcheck = prueba de sonido
soundman = sonidista
sound post ( violin family) = alma
speaker = bocina f.
staff = pentagrama
stage = escena , etapa, plataforma, escenario
string (section) = cuerdas, arcos
string = cuerda f.
sub (US) = suplencia (m noun), suplir (verb)
tambourine = pandereta
thirty second note = fusa f.
time signature = indicacion de compas f.
track = pista f.
transpose = transportar
truss rod = alma f.
tuner = afinador m.
union scale = del sindicato, tarifa sindical
verse = estofa f.
watt = vatio m.
whole note = redonda f.
woodwind = maderas
Esto es para los músicos que trabajan y los ingenieros de sonido. muchas de estas palabras no son fáciles de encontrar en los diccionarios. Por favor, aportar o proponer las adiciones o correcciones. ¡Gracias
Espanol – Ingles
a tono = in tune
acento m. = accent
acople, acoples m = feedback
acorde m = chord
actuación f = gig
afinado = in tune
afinador m = tuner
alma = truss rod (guitarra o sound post ( violin)
alteración f = accidental
amplificador m = amplifier
arcos f = string section
armadura de la clave f = key signature
atenuar v ; atenuacion n = cut (level)
atril m = music stand
auto amplificado = powered (speakers)
baqueta f = drum stick
barra f. = bar line
becuadro m = natural sign
bemol = flat ( music )
blanca f = half note
bocina f = speaker
bombo m = bass drum, kick drum
cabezal = head ( amp or tape)
caja de transporte f = flightcase
caja f ( guitarra) = body
caja f = snare drum
canal m = channel
captador piezoelectronico m = piezo pickup
cejuela f = nut (guitar)
chillida f = feedback
clavijero m = head (guitar)
compas m = bar
consola f = mixer, console, board, desk
corchea f = eighth note, quaver
coro m = chorus (choir or song)
cruzado / a = crossed (clave)
cuello m = neck
cuerda f = string
cuerdas f = string section
cuerpo m (guitarra) = body
culebra f = snake
del sindicato = union scale
desafinado = out of tune
descarga f = jam n
descargar v = to jam v
diafonia f = crosstalk
digitacion f = fingering
do central m = middle C
ecualizador m = equalizer
efecto m = effect
electricidad f = electricity
enmudecimiento m = mute n
ensayo m = rehearsal
escala f = scale
escena f = stage
etapa f = stage ,platform
estofa f = verse
evento m = private gig, event, function
fusa f = thirty second note
ganancia f = gain, volumen
golpeador m = pick guard
grupo de versiones m = cover band
grupo versatil m = cover band
huesero m = jobber
huesito m = little gig
hueso m = gig
impedancia f = impedance
indicacion de compass f = time signature
indicador m = meter (electronic)
jack de salida m = jack socket or jack input
jirafa f = boom (stand)
letra f = lyrics
linea divisoria f = bar line
luz f = electricity , light
maderas f = woodwinds
mayor = major
menor = minor
mesa f = mixing board/desk
metales m = horns, brass
mezclador m = mixer, soundman
mezclador m = mixing board/desk
micro m = mic, microphone
modo f = mode
modular v = modulate
monitor ( de scenario) m = (stage ) monitor
mutear v = mute v
negra f = quarter note
neodimo = neodymium
nota de paso f = passing tone /note
nota f = note
ohmio m = ohm
oido absoluto = perfect pitch
palomazo = jam session
pandereta f = tambourine
pantalla f = screen
papel m = chart, sheet music
parche de tambor m = drum head
partitura f = chart, sheet music
pastilla f = pickup ( guitar etc)
pentagrama m = staff
pincha discos = disc jockey, DJ
pista f = track
plano = flat ( eq )
plataforma f = stage
platillo m = cymbal
plug m = jack plug
potencia f = power
probar de sonido v = soundcheck v
prueba de sonido f n = soundcheck n
pua f = pick, plectrum
puente m = bridge ( song or guitar)
realimentación f = feedback
red de cruce f = crossover
redonda f = whole note
repeticion f = repeat n
semicorchea f = sixteenth note
silencio m = rest
sin trastes = fretless
sistema principal f = FOH , front of house
sonidista = soundman (woman)
soplido m = hiss
sostenido m = sharp`
suplencia = sub (US), dep (UK)
tambora f = bass drum, kick drum
tarifa sindical f = union scale
tecla f = key ( on keyboard, piano key)
teclador = keyboard
teclista, tecladista = keyboardist
tiempo m = beat
tocada f = gig
tonalidad f = key ( music)
tono m = key (music)
transportar v = transpose
traste m = fret
vatio m = watt
volumen = volume
Steve York http://www.steveyorkbass.com/
I have been playing professionally since 1967. Originally from London, I had a busy career through the 70’s both touring in the US and Europe and doing studio work, including playing on a few gold and platinum albums. discography
I moved to New York in 1981 and toured with Laura Branigan for four years then settled in Minneapolis in 1985 where I continued playing with national and local artists and also became more involved with the business side of music including booking, acting as musical director for national artists and setting up a publishing company . I received the Minnesota Music Academy Award for bassist in 1997, 2001 & 2005; the Minnesota Blues Music bassist award in 1990, and was inducted ino the Minnesota Rock & Country Hall of Fame in 2006.
I semi-retired in Puerto Vallarta. Mexico in 2005 where I continue to play regularly both locally and on cruise ships, and to participate in recording. I received an award from the Puerto Vallarta Jazz Foundation in 2016.
I had several requests for bass lessons and started teaching three years ago. I have been blessed with some dedicated students and sharing my knowledge of all things related to bass playing is now my main passion.
I am a professional bassist with decades of professional experience available for private lessons in Puerto Vallarta. Mexico
I have several gold & platinum album credits plus many more major label album credits and extensive tour and TV experience with many name artists. Check my website at steveyork.com for more info.
I am now accepting students. All levels — beginners of all ages and retirees reconnecting with music welcome.
There is a huge amount of information available on the internet. I specialize in focusing on what you need to improve rapidly and to make music with others!
Build a solid foundation to play any style with confidence, authenticity and creativity! Steve York.