To give you a clue, here is what the chords would normally sound like if they were not using tri-tone substitutions: I hope to have a lesson on turnarounds and tri-tone substitutions ready for the website sometime soon. But I want to mention it, so as to make you aware that you will want to find out what they are all about sometime in the future. It is two normal ii-V patterns but they are using what we call tri-tone substitutions. I’m not going to explain tri-tones here because it’s quite a lengthy subject and you must know your ii-V-I patterns first, in order to understand the substitution concept. The song uses the chord patterns F#m7 – F7 then Em7 – Eb7. This is actually a very common jazz turnaround change found in standards. I demonstrate this concept on my Joy of Scalesvideo. This is something that jazz and cocktail players do all the time when improvising.
If you work on the song it will give you a reason to learn or revisit playing your major scales in the keys of F and Eb and discover the fun of starting the scale from anywhere within it. First you play the scale steps up and down from the sixth tone in the key of Eb, like this:Ħ-7-1-2 -1-7-6-5 -4-3-2-1 - 7-1-2-3 - 7-6 The only trick is to know that the scales begin on the 6th of each major scale. Then the melody in the bridge is made up of two major scales going up and down in F and Eb.
I didn’t include the melody in the chart, but I think you can probably figure it out yourself because the A-section has only two different melody notes in it. Understanding the 2-5-1 Jazz Progressionand If you don’t know them yet, get the two lessons on the website titled, One Note Sambais made up entirely of common jazz patterns. If you know your major ii-V-I patterns then you will be able to understand and identify them. You might enjoy checking out the video to see how I have voiced the chords and added melody. I’ve included the chord changes to the song here for you in the key of D, just in case you would like to try it yourself. My jazz ukulele students will be able to play along with this piano clip while they are studying the lesson. I made it in D to sync with a new ukulele arrangement of the song I posted on YouTube a couple of weeks ago. I put the song in the key of D, an unusual key for it. It’s a pretty casual clip and not the best sound but I hope you will enjoy it anyway. I am back on the road here in SE Asia and always try to arrange to have a digital piano in my hotel rooms so I can work on things. Also worth noting is the rather unorthodox 40 measure A B C A B’ form.I just posted a fun piano clip on YouTube for One Note Samba. 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
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