The Song
Samba da Bênção (Samba of the Blessing) is one of the most beautiful songs of Brazilian music. Written by Vinicius de Moraes with music by Baden Powell, this song from 1962 is a perfect entry point into bossa nova guitar.
The most famous recording features Vinicius de Moraes and Toquinho, where Toquinho’s gentle guitar accompaniment perfectly complements the poetic lyrics about the blessing of samba and life in Brazil.
[youtube url=”https://www.youtube.com/watch?v=YOUTUBE_ID” title=”Samba da Bênção – Vinicius & Toquinho”]
Why This Song?
- Simple chord progression – Only 4 chords throughout the entire song
- Repetitive structure – The same progression loops, perfect for practicing rhythm
- Beautiful melody – Easy to sing along while playing
- Historical significance – A cornerstone of MPB (Música Popular Brasileira)
Chords & Key
The song is in the key of D major. The entire song uses just four chords in a repeating loop:
The Progression
| Bm7 | D/F# | Em7 | A7 |
This progression repeats throughout the entire song. The D/F# creates a smooth bass line movement: B → F# → E → A.
Chord Tips
- Bm7: Use finger 1 as a small barré on strings 1-5 at fret 2, then add fingers 3 and 4
- D/F#: Thumb wraps around to play the F# bass note on string 6, fret 2
- Em7: Simply lift your finger from a standard Em chord – very easy!
- A7: A classic open chord, watch the bass note on string 5
The Rhythm
Toquinho plays a gentle, flowing bossa nova pattern. Let’s build it step by step:
Basic Pattern
Technique breakdown:
- Thumb (p): Plays bass notes on beats 1 and 3, alternating between root and fifth
- Fingers (i, m, a): Pluck strings 1-3 together on the “and” of beat 3
Full Pattern with Syncopation
The syncopation secret: Add an extra chord hit on the “and” of beat 4. This anticipates the next bar and creates the characteristic bossa nova flow.
Practice Steps
- Practice the bass notes alone with metronome at 70 BPM
- Add the chord on beat 3 only
- Add the syncopation on “and” of 3
- Finally, add the anticipation on “and” of 4
- Gradually increase tempo to 100-110 BPM
Putting It Together
Form Overview
INTRO: | Bm7 | D/F# | Em7 | A7 | (x2) VERSE: | Bm7 | D/F# | Em7 | A7 | (repeat as needed) The entire song follows this same 4-bar pattern.
Performance Tips
- Keep the tempo relaxed – this is a contemplative song
- Let the bass notes ring out fully
- The chord hits should be soft, almost whispered
- Practice transitioning smoothly between Bm7 and D/F# – the thumb movement is key
Challenge: Add the Melody
Once comfortable with the accompaniment, try humming or singing the melody. The interplay between voice and guitar is what makes this song magical.
The Song
Menina Moça (Young Girl) was composed by Luiz Antonio in 1956 and became one of the early hits of Brazilian popular music. This song is perfect for learning to apply the Bossa Nova Clave rhythm pattern.
Unlike the flowing rhythm of Samba da Bênção, Menina Moça benefits from a more defined, clave-based approach that highlights the characteristic syncopation of bossa nova.
Understanding the Clave
The Bossa Nova Clave is the rhythmic DNA of the genre. It’s a two-bar pattern that creates tension and release through strategic accent placement.
The 3-2 Clave Pattern
Breaking it down:
- Bar 1 (the “3” side): Three accents – on beat 1, the “and” of 2, and the “and” of 3
- Bar 2 (the “2” side): Two accents – on the “and” of 1 and beat 3
The 2-3 Clave Pattern
This is simply the 3-2 pattern reversed – it starts with the “2” side first.
Chords & Key
Menina Moça is typically played in A minor. The main chords are:
The Progression
VERSE: | Am7 | Dm7 | E7 | Am7 | BRIDGE: | Dm7 | A7 | Dm7 | E7 |
Applying the Clave to Menina Moça
Step 1: Bass Only
First, establish the pulse with your thumb. Play half notes (beats 1 and 3) on the bass:
Step 2: Add the Clave Accents
Now add the finger pattern on top. We’ll use the 2-3 clave for this song:
Technique Tips
- Thumb stays steady: The bass pulse never changes – it’s your anchor
- Fingers dance: The clave accents happen independently of the bass
- Ghost notes: Between accents, your fingers can lightly touch the strings without fully plucking
- Practice separation: Clap the clave while tapping the bass with your foot
Complete Arrangement
Form
INTRO: | Am7 | Am7 | Dm7 | E7 | VERSE A: | Am7 | Dm7 | E7 | Am7 | | Am7 | Dm7 | E7 | Am7 | BRIDGE: | Dm7 | A7 | Dm7 | E7 | VERSE B: | Am7 | Dm7 | E7 | Am7 | | Am7 | Dm7 | E7 | Am7 | OUTRO: | Am7 | Dm7 | E7 | Am7 (hold) |
Performance Notes
- Start slower (80 BPM) and gradually increase to 100-110 BPM
- The clave should feel natural, not mechanical – let it breathe
- On the E7 chord, emphasize the resolution back to Am7
- Try varying the intensity of your clave accents throughout the song
Practice Exercise
Clave Independence Drill:
- Set metronome to 60 BPM
- Tap the bass pulse (1 and 3) with your foot
- Clap the clave pattern with your hands
- Once solid, transfer to guitar: thumb = bass, fingers = clave
- Add chord changes only after the rhythm is automatic
Introduction
Berimbau is one of the most iconic pieces by Baden Powell, composed in 1963 with lyrics by Vinicius de Moraes. The song is named after the berimbau, the single-stringed Brazilian percussion instrument central to capoeira.
This piece perfectly bridges the world of traditional Brazilian music with bossa nova sophistication. Its modal quality and hypnotic groove make it instantly recognizable.
[youtube url=”https://www.youtube.com/watch?v=YOUTUBE_ID” title=”Berimbau – Baden Powell”]
Why Berimbau?
- Two-chord verse: The main part uses only Am7 and Dm7
- Characteristic riff: A signature rhythmic pattern that defines Baden Powell’s style
- Bridge challenge: The chorus introduces more chords for growth
- Cultural depth: Understanding this song connects you to Brazilian roots
Intro and Verse
The verse section revolves around just two chords, but the magic is in the rhythmic pattern that imitates the berimbau instrument.
The Chords
The Berimbau Pattern
This is the signature rhythm that makes this song so distinctive. It mimics the sound of the berimbau being struck:
Technical breakdown:
- Beat 1: Strong bass note with chord
- “And” of 1: Quick chord stab
- “And” of 2: Chord accent
- “And” of 3: Chord accent
- The pattern creates a “DA-da-DA-da-DA” feel
Verse Progression
| Am7 (2 bars) | Dm7 (2 bars) | Am7 (2 bars) | Dm7 (2 bars) |
Practice Approach
- Learn the pattern on Am7 first – spend several minutes here
- The rhythm should feel like a mantra, hypnotic and repetitive
- Only add Dm7 once Am7 is completely automatic
- Start at 70 BPM, gradually work up to 95-100 BPM
Chorus
The chorus introduces a more sophisticated chord progression that requires more left-hand movement. This is where the song opens up harmonically.
Chorus Chords
Chorus Progression
| Gm7 | C7(9) | Fmaj7 | Fmaj7 | | Gm7 | C7(9) | Fmaj7 | E7 | | Am7 | Dm7 | Am7 | E7 |
Chord Transition Tips
Gm7 to C7(9):
- Finger 3 moves from string 6 to string 5
- Keep fingers 1 and 2 as anchors on strings 2 and 3
- Practice this transition in isolation 20 times before playing the song
C7(9) to Fmaj7:
- The third finger stays on fret 3 as a pivot
- Simply reshape the other fingers around it
Complete Form
INTRO: | Am7 (berimbau pattern x4) | VERSE 1: | Am7 | Am7 | Dm7 | Dm7 | Am7 | Am7 | Dm7 | Dm7 | CHORUS: | Gm7 | C7(9) | Fmaj7 | Fmaj7 | | Gm7 | C7(9) | Fmaj7 | E7 | | Am7 | Dm7 | Am7 | E7 | VERSE 2: | Am7 | Am7 | Dm7 | Dm7 | Am7 | Am7 | Dm7 | Dm7 | CHORUS: (repeat) OUTRO: | Am7 (fade with berimbau pattern) |
Style Tips from Baden Powell
- Dynamics: The verse should be relatively soft and hypnotic, the chorus more open and expressive
- The thumb drives everything: Baden Powell’s thumb is incredibly strong and consistent
- Variations: Once solid, try adding small melodic figures between chord hits
- Listen deeply: Study Baden Powell’s original recording to absorb the feel
Recommended Listening
- Baden Powell – “Os Afro-Sambas” (1966) – the definitive version
- Sergio Mendes – for a more jazz-influenced interpretation
- Toquinho – for a softer, more melodic approach
The Song
Só Danço Samba (I Only Dance Samba) is a joyful bossa nova classic composed by Tom Jobim with lyrics by Vinicius de Moraes in 1962. The most famous recording features João Gilberto on guitar and vocals from the legendary 1964 album “Getz/Gilberto”.
This song showcases the American jazz influence on bossa nova – the chord progression follows the classic AABA form used in Tin Pan Alley standards.
[youtube url=”https://www.youtube.com/watch?v=YOUTUBE_ID” title=”Só Danço Samba – João Gilberto”]
Form Structure
- A Section: The main theme (played twice)
- B Section: The bridge with different chords
- A Section: Return to the main theme
First Part (A Section)
The A section uses just four chords in a danceable, upbeat progression.
A Section Chords
A Section Progression
| D6 | A7 | D6 | A7 | | D6 | A7 | Em7 | E7 |
Chord Voicing Tips
The E7 Challenge:
This is the trickiest chord in the section. Use fingering 2-1-4 (middle-index-pinky):
- Finger 2 on string 5, fret 2
- Finger 1 on string 3, fret 1
- Finger 4 on string 4, fret 2 (optional – for the full voicing)
Transition E7 → Em7:
- Fingers 2 and 4 stay in place!
- Only finger 1 lifts off
- This creates a beautiful voice leading movement
Transition Em7 → A7:
- Middle finger can stay as a pivot point
- Simply reshape around it
The Rhythm for Part A
Só Danço Samba has an energetic, bouncing feel. Use the basic bossa pattern with extra forward motion:
Second Part (B Section)
The B section (bridge) introduces II-V progressions – a fundamental jazz concept. This is where you can hear Tom Jobim’s jazz education.
B Section Chords
B Section Progression
| Bm7 | E7 | Em7 | A7 | | Bm7 | E7 | Em7 | A7 |
Understanding II-V Progressions
First II-V: Bm7 → E7
- Bm7 is the II chord in A major
- E7 is the V chord in A major
- This creates tension that wants to resolve
Second II-V: Em7 → A7
- Em7 is the II chord in D major
- A7 is the V chord in D major
- This resolves back to D6 (the I chord) when we return to the A section
Complete Form
INTRO: | D6 | A7 | D6 | A7 | A SECTION: | D6 | A7 | D6 | A7 | | D6 | A7 | Em7| E7 | A SECTION: | D6 | A7 | D6 | A7 | | D6 | A7 | Em7| E7 | B SECTION: | Bm7| E7 | Em7| A7 | | Bm7| E7 | Em7| A7 | A SECTION: | D6 | A7 | D6 | A7 | | D6 | A7 | Em7| E7 | ENDING: | D6 | A7 | D6 | (hold)
Performance Tips
Tempo & Feel
- This song is faster than most bossa nova – around 120 BPM
- Keep the energy up but don’t rush
- The feel should be joyful and danceable
Dynamic Contrast
- A Sections: Play with confidence and a full sound
- B Section: Slightly pull back dynamically – this is the contrast moment
- Final A Section: Build back up to full energy
Practice Strategy
- Master each section separately before combining
- Focus on the E7 → Em7 transition until it’s smooth
- Practice the B section II-V movements in isolation
- Record yourself and listen for consistent rhythm
- Start at 90 BPM and gradually build to 120 BPM
João Gilberto’s Secrets
What makes João Gilberto’s version so special?
- The whisper technique: His dynamics are incredibly subtle
- Rhythmic elasticity: The beat is steady but phrases stretch and compress
- Voice and guitar as one: The rhythm guitar and vocal melody interlock perfectly
- Economy of motion: Every note is intentional, nothing is wasted
The Song
Estrada do Sol (Road to the Sun) is a gentle, introspective bossa nova by Tom Jobim and Dolores Duran from 1958. This song predates the “official” birth of bossa nova and shows the genre’s roots in Brazilian romantic song.
The most famous version is by Nara Leão, whose delicate interpretation perfectly captures the song’s wistful mood.
[youtube url=”https://www.youtube.com/watch?v=YOUTUBE_ID” title=”Estrada do Sol – Nara Leão”]
Song Characteristics
- Slower tempo: A contemplative 75-85 BPM
- Simple beginning: Easy chords for most of the song
- One tricky passage: A brief chromatic section near the end
- Beautiful melody: Perfect for singing along
Main Chords
The majority of Estrada do Sol uses these friendly beginner chords:
The Progression
Verse Progression
| Cmaj7 | Cmaj7 | Dm7 | G7 | | Cmaj7 | Am7 | Dm7 | G7 | | Cmaj7 | Cmaj7 | Dm7 | G7 | | Em7 | Am7 | Dm7 | G7 |
Understanding the Harmony
This progression is built entirely on the key of C major:
- Cmaj7: The I chord (home base)
- Dm7: The II chord (creates movement)
- G7: The V chord (creates tension wanting to resolve)
- Am7: The VI chord (relative minor – adds color)
- Em7: The III chord (passing chord)
The II-V-I progression (Dm7 → G7 → Cmaj7) is the backbone of this song and countless jazz standards.
The Rhythm
Estrada do Sol works beautifully with the basic João Gilberto pattern at a relaxed tempo:
Rhythm Variations
For the more emotional sections, add the anticipation:
The Challenging Passage
Near the end of the song, there’s a brief chromatic passage that adds sophistication. Here are the chords:
The Challenging Section
| Em7 | Am7 | F♯m7♭5 | B7 | | Em7 | Am7 | Dm7 | G7 |
Navigating F#m7b5
This chord (also called “F# half-diminished”) might look scary, but it’s manageable:
- It’s a minor 7th chord with a flatted 5th
- Think of it as Em7 moved up two frets with a different bass note
- Voice it simply: 2×2210 (partial voicing works fine)
The F#m7b5 → B7 → Em Movement
This is a II-V-I in E minor:
- F#m7b5 is the II chord in E minor
- B7 is the V chord in E minor
- They resolve to Em7 (which then continues the progression)
Complete Form
INTRO: | Cmaj7 | Cmaj7 | VERSE 1: | Cmaj7 | Cmaj7 | Dm7 | G7 | | Cmaj7 | Am7 | Dm7 | G7 | VERSE 2: | Cmaj7 | Cmaj7 | Dm7 | G7 | | Em7 | Am7 | Dm7 | G7 | BRIDGE: | Em7 | Am7 | F♯m7♭5| B7 | | Em7 | Am7 | Dm7 | G7 | VERSE 3: | Cmaj7 | Cmaj7 | Dm7 | G7 | | Cmaj7 | Am7 | Dm7 | G7 | OUTRO: | Cmaj7 | Dm7 | Cmaj7 | (hold)|
Performance & Interpretation
Capturing the Mood
- Think sunrise: The song is about hope and new beginnings
- Play softly: This is intimate music, not a performance
- Breathe with the phrases: Let the music ebb and flow naturally
- Less is more: Simple, clean chord changes are better than busy embellishments
Nara Leão’s Approach
Study Nara Leão’s version to understand:
- Her guitar is barely audible – it supports, never dominates
- The rhythm is loose, almost rubato in places
- Dynamics follow the emotional arc of the lyrics
- Simplicity is the goal
Course Conclusion
Congratulations! You’ve now learned five essential easy bossa nova songs:
- Samba da Bênção – 4-chord loop with flowing rhythm
- Menina Moça – Introduction to the bossa nova clave
- Berimbau – Baden Powell’s signature rhythmic pattern
- Só Danço Samba – AABA form and II-V progressions
- Estrada do Sol – Gentle ballad with one challenging passage
Next Steps
- Practice each song until it’s completely comfortable
- Record yourself and listen critically
- Try singing while playing
- Explore the intermediate bossa nova course for more challenging repertoire
Recommended Albums for Further Study
- João Gilberto – “Chega de Saudade” (1959)
- Getz/Gilberto (1964)
- Nara Leão – “Nara” (1964)
- Baden Powell – “Os Afro-Sambas” (1966)
- Tom Jobim – “Wave” (1967)