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Jorge Cardoso

The Samba from Jorge Cardoso

There are a lot of Latinamerican pieces composed for the accustic guitar. I want to introduce the Samba composed by Jorge Cardoso and compare it with the Samba for Jazz guitar. 

First you can listen to the music: Jorge Cardoso:Samba.mp3

The Samba is a group of dances in Brasilian, but took its rise from Afrika and was originally a dance of the Bantuafrican to celebrate the inauguration

of the soldiers. It was danced between burning torches and broken glas. As ballroom dance the Samba was known in Europe after the first world war.

The Samba is played quickly and in 2/4 rhythm.(Riemann, Musiklexikon) 

The Samba is quicker than the bossa nova, but the rhythm patterns of the bossa nova can be used in the samba, too. Here are some patterns for guitar, if you want to accompany in a band you can use them:

 Rhythm Patterns

(These patterns are from the book of Frank Haunschild, ”modern guitar styles”) 

Now to the Samba from Jorge Cardoso:

 The Form: 

The piece has 53 bars, is divided in two parts A and B. A is 29 bars, B is 24 bars. (Normally one part is 32 bars, every part is divided in 8+8+8+8.) The first part`s theme is a sequenz over four bars with a small four bars cadenz as well, so it has eight bars as usuall. Then the repetition of this eight bar theme get a change and comes in the subdominant, what is pretty speciall. And it only uses the first part theme with the sequenz what comes now over eight bars. The third eight bars only uses the sequenz part as well and goes further in the quint circel up to G major. So it is impossibel to separate the form from the harmonic context. The last “eight bars” are only five bars and make a cadenz back to the tonika (E major). So you can understand why this Samba only needs 29 bars for his first part. Its not so unusual as it seems at the first. 

As the first part is in E major, the second part starts in the paralell key C#minor. Here we have the opposite  appearance: The second part starts with a unregular 6 bar introduction  then be followed from the theme which is nine bars and is repeated without variations (except the last chord, what don`t count.).

 The Harmonic: 

The first part mostly use the dominant connections, so it drives very strong forward. The second part also use II – V – I constructions and a lot of b5 and b9 extentions what is typicall for minor parts. Here you can take a look

on the harmonic plan