Chega De Saudade (No More Blues): Journey Through The Real Book #59 (Jazz Piano Lesson)

Jazz piano solo and musical/historical discussion of Antonio Carlos Jobim’s classic bossa nova “Chega de Saudade (No More Blues).” You'll find my book, The Inner World of Piano Improvisation, on Amazon. Learn the 5 Essential Left Hand Techniques with my free ebook: Jazz Piano Left Hand Techniques: https://keyboardimprov.com/jazz-left-... Antonio Carlos Jobim, Cole Porter, and Paul McCartney as songwriters who aren’t limited by pre-existing concepts of musical form 0:00 Cole Porter’s use of wave-like melodic arcs that rise higher and higher throughout the song 0:47 Paul McCartney’s use of 5-measure phrases in “Eleanor Rigby” 1:01 The “natural-sounding asymmetry” of musical phrases in Mozart and Paul McCartney’s music 1:07 Creativity and musical logic in Jobim’s music, similar to Mozart 1:10 The fascinating, unusual musical form of Jobim’s “Chega de Saudade (No More Blues).”1:23 Each half of “Jobim’s “Chega de Saudade” as based on same musical idea, but the first half is developed in minor and the second half is in major 1:54 Establishing a sense of rhythmic “flow” in Bossa Nova 2:31 Playing a basic Bossa Nova rhythm on piano 2:44 Letting the sense of “flow” help us get past thinking “How am I sounding?” when improvising on piano 2:57 Improvising note-against-note counterpoint on a Bossa Nova 3:24 Letting linear inner-voice motion determine the chord voicings in jazz 3:54 Having the groove emerge from the sense of “flow” 4:11 Playing various rhythms over a steady underlying beat 4:16 Improvising counterpoint on a bossa nova 4:29 A guitar-like fingerstyle texture on piano 5:04 Adding some chordal rhythms 5:27 Melodic “alto” lines under the song’s melody 5:47 Beginning the improv section with lyrical melodic phrases 6:16 Getting a little more rhythmic with the improv 6:38 Alternating arpeggiated melodic lines with stepwise motion 6:44 An improvised melodic solo with full piano accompaniment underneath 7:00 Rhythmic chords under sustained notes, all in the right hand 7:24 Bebop improv 7:30 Left hand shell voicings 7:33 Syncopating and embellishing a phrase from the “Chega de Saudade” melody 7:39 Beginning the new improvised chorus with heightened intensity 7:50 A Spanish guitar-style lick 7:52 A phrase borrowed from Tango melodies 8:00 A colorful use of “broken” chords 8:06 A Chick Corea-style grace note and phrase 8:11 Developing a motif 8:16 Rhythmic comping on a bossa nova 8:27 A steady stream of 8th notes 8:33 Rhythmic syncopation between the two hands 8:50 Improvising a chromatic inner-voice 8:59 A descending melodic phrase that leads back to the tune’s melody 9:05 Returning to the main melody 9:07 Beginning an extended ending 9:19 Improvising with chord voicings 9:22 Starting the tune’s form again, from the beginning 9:44 Exploring inner-voice motion within jazz chord voicings 9:50 Melodic embellishment and variation 10:20 An expansive feel 10:31 Faster melodic lines 11:30 A decisive ending! 12:11 Capitalizing on a tune’s natural “flow” 12:21 Improvising over an extended “tag,” like Miles Davis did on Cole Porter’s “All Of You” 12:26 Keith Jarrett’s advice on how to end improvisations 12:54 An improvisation in the style of Keith Jarrett 13:09 Here are some more Free Jazz Piano Lessons for you at the KeyboardImprov website: https://keyboardimprov.com/free-begin... If you'd like some fun jazz rhythm and ear training exercises, you'll enjoy this ebook I created: Essential Training For Jazz Pianists https://gum.co/OIPmy Thanks for joining me on this musical adventure, and please LIKE, COMMENT and SHARE this video with your musical friends. If you'd like to start my full video course, you'll find it here: https://keyboardimprov.com/get-starte... For Zoom and Skype lessons, please email me at [email protected]. Enjoy the journey, and "let the music flow!" Ron