![]() Paul Murtha)" by Antonio Carlos Jobim Lead Sheet / Fake Book Digital Sheet Music for "One Note Samba (Samba De Uma Nota So)" by Antonio Carlos Jobim 3-Part Mixed Choir Audio - Accompaniment Only Digital Audio for "One Note Samba (Samba de uma nota so)" by Roger Emerson 3-Part Mixed Choir Audio - Full Performance Digital Audio for "One Note Samba (Samba de uma nota so)" by Roger Emerson Piano, Vocal & Guitar Chords (Right-Hand Melody) Digital Sheet Music for "One Note Samba (Samba De Uma Nota So)" by Antonio Carlos Jobim Lead Sheet / Fake Book Digital Sheet Music for "One Note Samba" by Antonio Carlos Jobim Piano Solo Digital Sheet Music for "One Note Samba" by Antonio Carlos Jobim Piano Solo Digital Sheet Music for "One Note Samba (Samba De Uma Nota So) (arr. Real Book – Melody, Lyrics & Chords Digital Sheet Music for "One Note Samba (Samba De Uma Nota So)" by Antonio Carlos Jobim Real Book – Melody & Chords – C Instruments Digital Sheet Music for "One Note Samba (Samba De Uma Nota So)" by Antonio Carlos Jobim Pro Vocal Digital Sheet Music for "One Note Samba (Samba De Uma Nota So)" by Antonio Carlos Jobim Clarinet Solo Digital Sheet Music for "One Note Samba (Samba De Uma Nota So)" by Antonio Carlos Jobim Jazz Ensemble Digital Ensemble for "One Note Samba (arr. ![]() Also worth noting is the rather unorthodox 40 measure A B C A B’ form.Shop Other Arrangements of "One Note Samba (Samba De Uma Nota So)" This song allows for great liberties with respect to improvised melodies: The “A” sections are composed of a descending chordal progression that alternates between minor and altered-dominant chords and the “B” sections and bridge are largely composed of ii-Vs. The melody largely revolves around one note, although the bridge of this composition employs a step-wise Dorian based melody. “One Note Samba” is a beautifully constructed Antonio Carlos Jobim composition which, appropriately enough, eschews complex melodic lines for a highly syncopated melody. ![]() The “C” section consists of two ii-V-Is, separated by a whole step. ![]() The first half of the “B” section is a ii-V-I-IV7, which is followed by a descending progression nearly identical to the “A” section. The “A” sections are repeated four-measure phrase that move downward by half steps. Minor / dominant during “A” sections and major during “B” and “C” sections ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |