Paul Beuscher Publications Bossa piano - méthode d'accompagnement
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Paul Beuscher Publications
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Summary of This Method
Born at the crossroads of samba and jazz, Bossa Nova initially developed its grammar on the guitar before inspiring subtle pianistic writing. With Bossa Piano - Accompaniment Method, Didier Marchand offers pianists a clear approach to transpose this "guitar" aesthetic to the keyboard without losing the groove's lightness or the harmonic finesse inherent to the style.
Throughout the method, you explore accompaniment patterns designed to establish a steady pulse while highlighting the syncopations and discreet accents that give bossa its breath. The work focuses especially on the left hand (bass notes, alternations, movements) and rhythmic placement to achieve a flexible, precise, and naturally danceable accompaniment.
The book also addresses chord writing on the piano through open voicings and typical enrichments (9th, 11th, 13th) to recapture the jazz color of Bossa Nova while maintaining an airy touch. This approach is particularly relevant if you wish to accompany a singer, support a melodic instrument, or enrich your arrangements with refined introductions and conclusions.
Technical specifications
| Publication | Methods | ||
| Composer | Didier Marchand | Instrumentation | Piano |
| Publisher | Paul Beuscher | Genre | Method - Studies |
Questions frequently asked
Does this piano method cover bossa nova rhythms?
The proposed accompaniment patterns work on a steady pulse, the syncopations and subtle accents characteristic of bossa nova.
How to practice the left hand in bossa on piano?
Didier Marchand's book focuses part of the work on bass notes, alternations, and left-hand movements. Rhythmic placement is also addressed to build a flexible accompaniment. This approach transposes to the keyboard an aesthetic originally developed on guitar.
Which chords are studied in Bossa piano - accompaniment method?
The method covers open voicings as well as chord extensions including 9ths, 11ths, and 13ths. These voicings aim for the jazz harmonic color associated with bossa nova.
Can this method be used to accompany a singer?
It is possible to find accompaniment principles designed to support a singer or a melodic instrument, with open chords and a bossa groove.
Does the method offer bossa introductions and endings?
Introductions and endings are included to enrich piano arrangements.



