Bossa Nova: analysis of the 10 most important musics

The Bossa Nova movement, responsible for disseminating non-foreign Brazilian music, was a development of the industrialization process experienced by our country during the 1950s and 1960s.

Tired of velha music, the young composers seek to create innovative compositions, more compatible with the new tempos.

Relembre now ten musics that will mark that geração.

1. Garota of Ipanema

Known as um hino da Bossa Nova, Garota of Ipanema It was a composition raised by shared hair Vinicius de Moraes (1913-1980) and Tom Jobim (1927-1994) in homage to Helô Pinheiro.

A song that faz um praise to a Brazilian woman was adapted for English and made into the voice of Astrud Gilberto.

Olha that coisa mais linda
Mais cheia de graça
É ela, menina
What do you see and what happens
Num twelve balanço
A caminho do mar

Moça do corpo dourado
Sun of Ipanema
O seu balanced é more than a poem
It is more beautiful than it is that I saw it pass

Ah, why are you sozinho?

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Ah, why are you so sad?
Ah, the beauty that exists
To beleza that não é só minha
That also happens sozinha

Ah, be ela soubesse
What when she happens
O world inteirinho is enche de graça
And she looks more beautiful
Because of love

The protagonist is given lyrics by a beautiful girl who passes alheia ao olhar two composers. She seems not to be aware of the charm that she carries and gives her ability to enfeitiçar the homies to her turn.

Unattended in relation to everyone and everyone, a young man barely passes a path to the sea. To her hypnotizing presence of her face like a eu-lyrical one sees all of her in a different way.

Find out a deep analysis of the Music Garota de Ipanema, by Tom Jobim and Vinicius de Moraes.

2. Samba do Avião

Compost by Antônio Carlos Jobim, in 1962, the letter addresses the otics of a carioca apaixonado pela its city that from the top.

Minha soul sings
Vejo or Rio de Janeiro
I'm dying of saudade
Rio teu mar, praias sem fim
Rio você foi feito pra mim

Christ redeemer
Open arms over Guanabara

This samba is only because
Rio eu gosto de você
A brunette vai sambar
Seu corpo everything balançar

Rio de sol, de céu, de mar
In more a few minutes
We will be not Galeão

This samba is only because
Rio eu gosto de você
A brunette vai sambar
Seu corpo everything balançar

Aperte o belt, let's go check
Água shining, olha a pista chegando
And we are going to terrify

Or not Samba do Avião face a local reference to where he is or eu-lyrical, and from the top that he manages to observe the beauties of the city that he loves so much.

Pela letra, it is possible to perceive that the composer from Rio de Janeiro is returning from long ago and from home.

Além to mention some tourist points (or Christ the Redeemer, to Baía de Guanabara), or poetic subject face reference ao climate, às praias, à music, às mulheres e a atmosfera da cidade - in summary, it mentions everything here that sentence lack.

3. Out of tune

Composted by Antônio Carlos Jobim and Newton Mendonça, a famous song made by João Gilberto's voice, who, not by chance, was accused of being an out-of-tune performer.

You disser that eu out of tune love
I knew that isto em mim provokes immense dor
Só privileged tem o ouvido equal to o seu
Eu possuo hardly o que deus deu me
You insist on classifying
Meu anti-musical behavior
I am lying, I must argue
What is Bossa Nova, what is natural
Or that you don't know yet, stay present
É that you are out of tune also tem um coração
Fotografei você na minha Rolley-Flex
Revelou-se to his enormous ingratitude
Só não can falar assim do meu amor
Ele é o maior that you can find
Você com a sua music esqueceu o principal
That I do not fight two out of tune
I do not fund do peito
Bat open, that I do not beat two out of tune
It also beats a heart.

A letter or eu-lyrical is addressed to a loved one who accuses him of being out of tune. He argues that because he is extremely sensitive and retaliates that this gesture, na Bossa Nova, is very natural. It is curious how from within Bossa Nova composers refer to it and include movement to the lyrics.

Outra peculiar observation of the Rolley-Flex photographic machine, em voga na time, appear in the letter, giving a contemporary touch to the composition.

4. Senselessness

Compost hair friends Vinicius de Moraes and Tom Jobim no year 1961, a song Senselessness carrega um ar more melancholic and regretful.

To music, which became two icons of Bossa Nova, which was to be recorded in English (How Insensitive) for great names like Ella Fitzgerald, Frank Sinatra and Iggy Pop.

To foolishness that you feel
Heart more than care
Fez chorar de dor
Or seu love
Um love so delicate
Ah, because você foi fraco assim
Assim tão soulless
Ah, my heart burned I never loved
Don't deserve to be loved
Vai meu coração ouve a reason
Use only sincerity
Quem seia vento, I say by reason
Colhe semper tempestade
Vai, my heart is lost
Lost lost
Vai because I burned no
I lost it
I am never lost

A amorous disappointment is the nickname that moves to writing from the classic Bossa Nova. Or eu-lyrical, clearly unbalanced due to a lack of love, narrates the two advindas do their heart party.

Vinicius propagates the idea that we should look like other boas, otherwise the consequences chegam depressa. E foi o what happened ao poetic subject: he seems to have been missed as a loved one at some moment e, year I long give lyrics, he is encouraged to apologize with the hope that you will go back to how he was before.

5. Wave

Foi de uma parceria between Tom Jobim (music) and Vinicius de Moraes (lyrics), which was born Wave, at the first faixa do LP released in 1967. A duo has also helped starter Claus Ogerman to give life to this work-debut.

I will tell you,
You can't see
Things that only heart can understand.
Fundamental is the same or love,
It is impossible to be happy sozinho.
Or rest of the sea,
I do not know how to tell.
Beautiful São coisas
That I have to give you.
Vem from mansinho to breeze and he told me:
It is impossible to be happy sozinho.
The first time it was a city,
Give second, or fall to eternity.
Agora eu já sei
It gives wave that it rises not sea,
These are the stars that we plan to count.
Or love is left surpreender,
Enquanto a noite vem wrapping us.
I will tell you,
You can't see
Things that only heart can understand.
Fundamental is the same or love,
It is impossible to be happy sozinho.
Or rest of the sea,
I do not know how to tell.
Beautiful São coisas
That I have to give you.
Vem from mansinho to breeze and he told me:
It is impossible to be happy sozinho.
The first time it was a city.
Give second, or fall to eternity.
Agora eu já sei
It gives wave that it rises not sea,
These are the stars that we plan to count.
Or love is left surpreender,
Enquanto a noite vem wrapping us.
I'll tell you ...

Or title of music (Wave, in Portuguese "wave") not free: to also narrate the praia landscape, the same song as the successive waves and face invested with a constant rhythm.

A onda also says I respect the love sentiment, which works through various phases (or sentiment Many times it is customary to be identified from a cyclical movement of approaches and attachments).

Wave It is a typical Bossa Nova song: it is about falling in love, it gives the beauty of feeling numb, it gives a relationship of proximity with a loved one and the praian landscape with a light that serves as a background.

It is interesting to note that the phrase "It is impossible to be happy sozinho", which belongs to the lyrics of the music, transcendence or movement of Bossa Nova and the context of the song and entry for the collective imagery.

6. Pela Luz Dos Olhos Teus

Also with lyrics by Vinicius de Moraes and music by Tom Jobim, a curious song that does not present a refrão ficou conhecida pelas voices of Miúcha and Tom Jobim, who sing in duo interpreting each um uma part of the day music.

When two olhos meus give birth
I gave birth to two olhos teus
Resolvem will be found
Ai, that bom that isso é, meu Deus
How cold it gives me
Or found desse olhar
But two olhos teus were born
Resists olhos meus
Só pra provoke me
Meu love, I swear by Deus
I feel on fire
Meu love, I swear by Deus
That gave birth to two olhos meus
I can't wait
I want to give birth to two olhos meus
Na luz dos olhos teus
Sem mais lararará
Pela luz dos olhos teus
Eu acho, meu love
It is possible to achar
That gave birth to two olhos meus
Need to get married

Is there a melhoring sensation than being dull? Pela Luz Dos OlhosTeus It intends to make a record of that precious moment and convey in words that feeling of falling in love.

To give two sides of a relationship of affection, the music was interpreted by a homem and a woman (not Miúcha e Tom). Ao long of the lyrics we attended several years that this love relationship can win: will you be able to resist? Ficarão together forever?

It is worth underlining that the song is not only about physical attraction, plus two physical breakdowns that are felt to us by two clustered bodies.

7. Ela É Carioca

A compliment to the Rio de Janeiro woman, that could be a summary of the song made in partnership between Tom Jobim and Vinicius de Moraes.

Ela é carioca
Ela é carioca
Enough or jeitinho dela walk
Nem ninguém tem carinho assim para dar
Eu vejo na cor dos seus olhos
As noites do Rio ao luar
Old to the same light
Old man or same céu
Old or same sea
Ela é meu love, you only see me
To me who lived to find
Na luz do seu olhar
To peace that sonhei
I know I'm louco for her
E pra mim ela é linda demais
E além do mais
Ela é carioca
Ela é carioca

Or Rio de Janeiro was or Berço da Bossa Nova and nothing is more natural than that of the Carioca woman, an icon dessa geração (and consequently dessa song). Apart from being a praise for young people, the letter also invites me or you to experience a generous olhar on the city.

Tudo e idealizado na mulher da lyrics conceived by Vinicius: o olhar, a carinhosa personality, o caminhar, a beleza odd. E o fato of a newborn in Rio de Janeiro seems to be um plus ainda maior for that hypnotizing figure or poetic subject. A não nomeada girl snatches the heart of the eu-lyrical point of fazer as she creates a composition only for her.

8. Chega de Saudade

A song composted in 1956, the fruit of the union of Vinicius de Moraes and Tom Jobim, became one of the two greatest classic Bossa Nova.

Chega de Saudade Foi das first musicas do movimento, I have arisen no album Song of Love Demais (1958), by Elizeth Cardoso. O fato da music finished consecrated also became a fato by João Gilberto tê-la re-recorded not his first solo album, also beaten by Chega de Saudade.

Vai minha sadness
He says that he can't be
Diz-lhe numa prece
That she came back
Because it is not posso mais sofrer
Chega de saudade
What is the reality?
There is no peace
There is no beauty
It is sadness and melancholy
That I am not sai
No sai de mim
No sai
More
It is ela to turn
It is ela to turn
What a beautiful thing!
What a coisa louca!
Pois have less peixinhos to swim not sea
Do you beijinhos
That eu darei na su boca
Inside two meus arms, embrace you
Must be milhões de abraços
Apertado assim, strained assim, openwork assim,
Abraços e beijinhos e carinhos sem ter fim
What is the end of that business?
De viver longe mim
I do not want more than this business
De você viver assim
Let's leave this business
De você viver sem mim
I do not want more than this business
De viver longe de mim.

Like a woolly structure, Chega de Saudade Carrega as title um two serious verses of him most powerful. A song that has become a symbol of Bossa Nova fala of a love mismatch and the consequences felt by the poetic subject.

Here the eu-lyrical regrets for feeling saudades da beloved and allows her to return so that his relief from her ends. A woman is seen, therefore, as the only source of joy and her absence from her face as the subject fell numa sem fim sadness.

Also entrust to Complete analysis of Chega de Saudade music.

9. Águas de Março

Waters of Frame It was composed by Tom Jobim in 1972 and made famous by recording a female composer with a singer Elis Regina no LP Elis & Tom (1974).

É pau, é pedra, é o fim do caminho
É um rest of play, é um little sozinho
É um caco de vidro, é a life, é o sol
É a noite, é a morte, é o laço, é o anzol
É butoba do campo, é o nó da madeira
Caingá candeia, é or Matita-Pereira
É madeira de vento, tombo da ribanceira
É o deep mystery, é o queira ou no queira
É o vento vendo, é o fim da ladeira
É a viga, é o vão, festa da cumeeira
É a chuva chovendo, é talks Ribeira
Das águas de março, é o fim da canseira
É o pé, é o chão, é a march estradeira
Passarinho na mão, pedra de atiradeira

With a huge and elaborate lyric (or that you top it and barely the initial stretch of the song), it is a surprise that a song difficult to be sung had quickly fallen out of popular taste.

In no case was it about a passing event: Águas de Março Remain not collective imaginary I have been elected in 2001, in a research carried out by Folha de SP, to melhor Brazilian song of all times.

A letter - palavrosa - contains a series of situations in a sequence capable of leaving or singing (e or ouvinte) sem fôlego.

The breeder told him in an interview that a song arose when he was with a family outside of Rio de Janeiro. Tom was tired after a day of work, in his little fair house, while he was building another major house, not high on a hill.

A sudden inspiration fez as a composer rabiscasse a long letter num papel de pão. Deeply imaginary Águas de Março On the face of it, through a chaotic enumeration, it is not only a narration of a period of the year as it also paints a scene in construction. Here there are mixed concrete and abstract elements that help to compose the dinner.

10. Samba by Uma Nota Só

Samba of a note only é fruit of a partnership between Tom Jobim (music) and Newton Mendonça (lyrics). A composition also has a version in English chamada One Note Samba.

Here is this sambinha
Feito numa note only,
Outras notes are going to enter
More based on it.
Essa outra é consequence
I just said
As I am the inevitable consequence of you.
How many people exist there
That he fails so much and he says nothing,
Ou quase nothing.
I never used me on any scale
And I don't end with nothing,
No deu em nada

As a long letter (or you know it only a little way), it is curious to observe that the composition initially deals with or its own process of breeding.

It is, therefore, about a metalinguistic song, which turns to its own interior faking on the circumstance of its composition.

The lyrics have a parallel between the musical creation and the love affair. Also as it is difficult to find a note and a correct composition, or eu-lyrical suggest that and inevitably return to praise the beloved.

Um little about Bossa Nova

The first Bossa Nova criações took place during the 1950s, initially with two composers or in bars.

It is about a historical period marked by a cultural boiling and a social transformation, you young people composers desejavam reach uma nova maneira de fazer music, mais alinhada as context contemporary.

Two discs mark the beginning of Bossa Nova. Or first of them foi Song of Love Demais (1958), with Elizeth Cardoso singing Tom Jobim and Vinicius de Moraes (and João Gilberto no violão). Or second foi Chega de Saudade (1959) by João Gilberto, with music by Tom and Vinicius.

Among the main people of this movement are:

• Antonio Carlos Jobim (1927-1994)
• Vinicius de Moraes (1913-1980)
• João Gilberto (1931)
• Carlos Lyra (1933)
• Roberto Menescal (1937)
• Nara Leão (1942-1989)
• Ronaldo Bôscoli (1928-1994)
• Baden Powell (1937-2000)

Cool Culture no Spotify

Do you want to see the songs mentioned nesse artigo? Hereby confirm the list that we prepared for you on Spotify:

Conheça also

• As melhores Brazilian musics of all tempos
• A fascinating history of the origin of samba
• Os melhores poems by Vinicius de Moraes
• The best events of MPB
• As musics you will remember by Chico Buarque
• To Rosa de Hiroshima, by Vinícius de Moraes