Fodera Pope preamp.

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.

“Wave” as a blues. Reverse engineering Jobim’s classic.

  • 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!






Musician & Sound Engineer Glossary – English / Spanish

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 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

Glosario de músicos y ingenieros de sonido – Español / Ingles

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

About Me.

Steve York

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.




Bass Roots


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 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!sylaz
Build a solid foundation to play any style with confidence, authenticity and creativity! Steve York.