6 Bossa Nova Chord Progressions You Need to Know!

James Melton
August 23, 2024

GOOD FOR

If you want to play Bossa Nova music, you must know some Bossa Nova chord progressions!

However, Bossa Nova music is way more than harmony! To get a feel for Bossa Nova and Brazilian music generally, you’ll need to learn about Brazil’s rich rhythmic tradition and the key composers who fused jazz harmony with traditional Brazilian rhythms and attitude.

In this article, we’ll explore the tradition of Bossa Nova music and discuss eight important Bossa Nova chord progressions you must know, especially if you are trying to improve your jazz guitar playing!

We’ll look at—

The history of Bossa Nova and the Bossa Nova groove
Important Bossa Nova composers
Musical elements of Bossa Nova
Bossa Nova guitar patterns
Bossa Nova Chords
And six must-know Bossa Nova chord progressions!

But, before we get started with Bossa Nova chord progressions and the history of the genre…

If you aren’t progressing in the practice room but want to take your jazz playing to the next level, check out the Learn Jazz Standards Inner Circle! The Inner Circle has everything you need to improve your jazz chops.

Improve in 30 Days or Less. Join the Inner Circle!

Table of Contents

Bossa Nova Music: A (Brief) History

Bossa Nova is a unique music style that blends jazz harmony and traditional Brazilian rhythms. It emerged from Brazil in the late 1950s and early 1960s, and after its emergence, it took the jazz world by storm.

In fact (as you probably already know), Bossa Nova songs make up a significant part of the body of jazz standards.

However, it wasn’t always that way.

Bossa Nova means “new wave” or “new style,” and the music certainly fit that bill back when the soundtrack to the movie “Orpheu Negro” (Black Orpheus) was released in 1959.

This movie—a Brazilian twist on the Greek classic Orpheus and Eurydice—featured Bossa Nova prominently alongside the traditional music of the Brazillian Carnival.

Bossa Nova was revolutionary in Brazilian culture.

These young New Wave composers modernized the traditional Samba rhythm by fusing it with modern jazz harmony. Bossa Nova music is also unique in that it features the nylon string classical guitar as the main chordal instrument, contributing to its smooth, unique sound.

Let’s learn a bit about these revolutionary Bossa Nova composers.

Key Bossa Nova Composers

Antônio Carlos Jobim: Often referred to as the father of bossa nova, Jobim’s compositions, such as “The Girl from Ipanema,” “Desafinado,” and “Waters of March,” have become iconic jazz standards. Tom Jobim internationalized Bossa Nova music by working alongside American jazz greats like Frank Sinatra and Stan Getz.
João Gilberto: Known for his innovative guitar style and soothing vocals, Joao Gilberto pioneered the bossa nova movement. He adapted samba rhythms for guitar and set the longstanding precedent of soft and smooth vocal performances in Bossa Nova music.
Vinicius de Moraes: Vinicius de Moraes collaborated extensively with Jobim and wrote many of the lyrics for many Bossa Nova songs, including “The Girl from Ipanema” and “Chega de Saudade.”
Luiz Bonfá: With his sophisticated guitar skills and rich compositions, Luiz Bonfá substantially contributed to the popularization and evolution of bossa nova. He is best known for his work on the soundtrack of the film mentioned earlier, Orpheu Negro, which introduced many people around the world to Brazilian music.

What Is Clave? The Key Rhythmic Element of the Bossa Nova Style

Clave is a rhythmic system for organizing time in Brazillian and Cuban music. Bossa Nova draws heavily upon clave, which gives the music its syncopated feel.

Clave originated outside of Western music’s rhythmic system of notation. However, you can notate it across two measures. One measure has three beats, and the other measure has two. The order of these measures determines whether it’s a 3:2 clave or a 2:3 clave.

Additionally, there are two “flavors” of clave—son and rumba. Son and Rumba are very similar—the only distinction being the last beat in the three-beat measure. Son claves have the third beat on beat four, while Rumba claves have the third beat on the + of four.

Son Clave Types:

2:3 Son Clave

2:3 Son Clave

3:2 Son Clave:

3:2 Son Clave

Rumba Clave Types:

2:3 Rumba Clave:

2:3 Rumba Clave

3:2 Rumba Clave

3:2 Rumba Clave

Bossa Rhythm and The Bossa Nova Style on Guitar

Clave is a significant factor in the Bossa Nova rhythm. Nylon string guitar is another factor. Joao Gilberto’s influence on Bossa Nova guitar (and jazz guitar by default) was very important.

Gilberto introduced a syncopated style of chord comping where the technique was rooted in classical guitar, but the rhythms were from Samba.

In this style, the thumb plays the bass note, emphasizing the 1 and the 3, while the other fingers play syncopated chords. There are various ways to do this, but here are a few examples. Note that the bass notes are always played on 1 and 3. The rhythmic slashes are the upper voices in the chord.

Bossa Nova Rhythm Pattern Varieties on Guitar:

Bossa Style Rhythmic Comping 1

Bossa Style Rhythmic Comping 2

Bossa Style Rhythmic Comping 3

Because of the emphasis on beats one and three in the bass, you can also feel Bossa Nova in 2/4 rather than 4/4.

Important Bossa Nova Chords

As we learned above, Bossa Nova music began on the classical guitar, which was a common instrument in Brazil. Below, I’ve compiled common Bossa Nova guitar chord voicings (and provided their shapes on the piano).

The following bossa nova guitar chords are commonly used to comp bossa nova chord progressions on the guitar:

Major 6/9 Chords
Minor 9 Chords
Dominant #11 Chords

These are all seventh chords or chords with four pieces of harmonic information. Usually, seventh chords consist of a basic triad plus a seventh. Cmaj7 is a seventh chord consisting of a C major triad [C-E-G] plus a [B], a major seventh interval away from the root, or C.

Major 7th: B
Perfect 5th: G
Major 3rd: E
Root Note: C

Most Bossa nova guitar chords go above and beyond other chords, using chord tones beyond the basic format, which contains a root, 3rd, 5th, and 7th.

Bossa Nova Guitar Chords: 6/9 Major Chords

Instead of the root, 3rd, 5th, and 7th, which regular seventh chords have, 6/9 chords contain a 6th (or 13th) and a 9th. Usually, the 6th is played in place of the 7th. The 9th is often added on above the 6th.

The guitar’s structure limits the number of note choices you can put in any one chord, so sometimes the 5th is omitted to include both the 6th and the 9th.

In our first example of Bossa Nova chords, the 7th is replaced by the 6th, and the 5th is omitted. The second example has a 5th but omits the 3rd to get the 6th and 9th in the voicing.

[A-D-G-B String] C 6/9 Chord:

C 6/9 Chord on piano and guitar

9th: D
6th: A
3rd: E
Rt: C

[E-D-G-B String] G 6/9 Chord:

G 6/9 chord on piano and guitar

5th: D
9th: A
6rth: E
Rt: G

Bossa Nova Guitar Chords: Minor 9 Chords

For both our minor chord examples, the 5th is omitted to get the 9th in the guitar voicing.

[A-D-G-B String] C Minor 9 Chord:

C-9 on guitar and piano

9th: D
7th: Bb
3rd: Eb
Rt: C

[E-A-D-G String] G Minor 9 Chord:

G-9 on guitar and piano

9th: A
7th: F
3rd: Bb
Rt. G

Bossa Nova Guitar Chords: Dominant #11 Chords

These dominant #11 bossa nova guitar chords also emit the 5th.

[A-D-G-B-E String] C7#11 Chord:

C7#11 Chord on Piano and Guitar

#11th: F#
9th: D
7th: Bb
3rd: B
Rt. C

[E-D-G-B String] G7#11 chord:

G7#11 chord on guitar and piano

#11th: C#
3rd: B
7th: F
Rt. G

For more jazz guitar chords, check out these 20 jazz guitar chords you need to know.

6 Bossa Nova Chord Progressions and Why They Are Great

Now it’s time to dig into six bossa nova chord progressions and discover why they are so influential in jazz music.

1. Manha De Carnaval (Black Orpheus)

This is the Bossa tune that started it all, so we must discuss it! This was composed by Luiz Bonfá, who we talked about above. His soundtrack for the movie Orpheu Negro (Black Orpheus) was the spark that started the Bossa Nova craze in Brazil and, eventually, the US.

This tune is pretty simple compared to the other Bossa Nova chord progressions on this list. It is mainly constructed of minor ii-Vs and major ii-Vs in the relative major and minor keys of C major and A minor.

First 8 Bars of Manha De Carnaval

For the first section of the tune, we are in the minor key until a major ii-V brings us to the major key.

Here are bars 9 -16 of Manha De Carnaval:

Bars 9 - 16 of Manha De Carnival

This is the most simple of the Bossa Nova chord progressions on this list, but it’s important because of its history. Things are about to get more intricate with the other Bossa Nova tunes on this list.

For more on parallel major and minor keys, check out this article.

Check out this version of Manha De Carnaval by Wayne Shorter:

BEFORE YOU CONTINUE...

If music theory has always seemed confusing to you and you wish someone would make it feel simple, our free guide will help you unlock jazz theory secrets.

2. Corcovado (Quiet Nights of Quiet Stars)

Corcovado is a Jobim classic that has some cool harmonic complexity.

It starts on an A-6, giving it some ambiguity with its relative major (C major, specifically, an inverted Cmaj6 chord). However, the presence of the F# hints at an A Dorian sound or G major tonality.

Let’s consider the tune in A-, but I wanted to comment on the ambiguity. After establishing the tonal center, the progression goes to a dominant functioning diminished chord—and Ab diminished (or E7b9).

The Ab diminished chord shares many common chord tones with an E7b9 chord, so they both essentially function the same way:

Ab Diminished:

bb7th: Gbb (or F)
b5th: Ebb (or D)
m3rd: Cb (or B)
Root: Ab (or G#)

E7b9 (with no E):

7th: D (or Ebb)
5th: B (or Cb)
3rd: G# (or Ab)
b9: F (or Gbb)

First 8 bars of Corcovado

After this, we move to a standard ii-V-I progression in the key of F, but we delay the resolution of the I by first playing a Idim chord.

Backdoor Progression and Dominant II in Bars 9-16

Bars 9 - 16 of Corcavado

In bars 9 and 10, we borrow from the parallel minor (C minor if we consider this tune to be in the key of C major) with a classic backdoor ii-V progression.

In the Key of C minor, the vi chord is an F minor chord, and the VII chord is a Bb major chord. Using these chords in our progression, we use modal interchange chords to resolve to the I. However, instead of resolving to C major, we resolve to E-7 (basically a rootless Cmaj7 chord, so it counts!).

After this, we use another borrowed chord to play a dominant II (D7 borrowed from C Lydian or G major again) before playing a regular ii-V back to “C,” or rather, to our inverted A-6 chord.

For more on borrowed harmony, check out our article on modal interchange.

3. Garota De Ipanema (Girl From Ipanema)

Perhaps the most famous Bossa Nova chord progression on this list is Girl From Ipanema. This iconic jazz standard makes use of two important jazz harmony devices:

the Dominant II
the Tritone Sub

Both are evident in the A section of the tune:

The Dominant II

The dominant II chord is an example of a borrowed chord where we pull a chord from D Melodic Minor or Fmajor7#5. Normally, in the key of F, the ii chord is a minor chord. However, by making this dominant with a #11, we are pulling from the third mode of D melodic minor: F Lydian Augmented.

That makes the G7#11 chord a G Lydian Dominant sound, which happens to be the scale you can use over this chord.

For more on melodic minor, check out our guide to the modes of the melodic minor scale.

First 8 bars of Girl From Ipanema

The Tritone Sub

Instead of a traditional ii-V-I, Jobim uses a tritone sub of the V chord, creating a chromatic line in the bass note and a smooth resolution to the I chord.

He chooses a Gb7 instead of a C7 Chord

The V and the bII share the same guide tones:

C7

7th: Bb
5th: G
3rd: E (or Fb)
Root: C

Gb7

7th: Fb (or E)
5th: Db
3rd: Bb
Root: Gb

The Bridge of Girl From Ipanema

The B Section, or Bridge of Girl From Ipanema, is also harmonically interesting.

First 8 bars of the B section of Girl From Ipanema

Nearly the entire bridge is made of IV – bVII chord progressions or ii – bVII chord progressions that never resolve to the I chord:

F#maj7 to B7 (Key of C#) or VI – bVII
F#-7 to D7 (Key of E) or ii – bVII
G-7 to Eb7 (Key of F) or ii – bVII

Bars 9 -16 of the B section of Girl From Ipanema

The last system of the tune is a classic iii-VI-iiV chord progression.

Check out this recording of Girl From Ipanema:

4. Samba de uma Nota Só (One Note Samba)

One-note Samba uses some great bossa nova guitar chords in the A section. The key is Bb, and this bossa nova chord progression features a twist on the classic iii-VI-ii-V chord progression.

Instead of iii-VI-ii-V, Jobim chooses to use tritone subs for the VI and V chords:

Instead of G7, he uses a Db7 chord
Instead of F7, he uses a B7#11 chord

First 8 bars of One Note Samba

This use of tritone subs creates a line of descending chromatic bass notes, which sit nicely on the guitar. Here are some useful Bossa Nova guitar chords with a common Bossa Nova rhythm to try playing over these changes:

c95157d3 a9d0 4ea8 bfa0 725fff4d346a

Notice how these particular Bossa Nova guitar chords have strong chromatic voice leading. These voicings lend themselves well to the Bossa Nove style.

Check out this version of One Note Samba by Astrud Gilberto:

5. Dindi

Dindi is another great example of Jobim’s music and its influence on jazz music as a whole. The A section is in Eb but borrows a chord from the Eb Dorian—Db. This interplay between Eb and Db major adds to its mysterious and haunting melody.

With a ii – V (Bb-7 – Eb7), the tune moves to the IV chord before hitting the characteristic minor [iv – I].

A section of the Carlos Antonio Jobim tune Dindi

However, the B section makes this Bossa Nova chord progression so unique. Jobim finds a unique alternative to a V chord in a minor i-V progression.

Instead of [G- D7], Jobim chooses an Eb-6 chord, which contains the same guide tones as a D7 chord.

D7

Root note: D
3rd: F# (Gb)
5th: A
7th: C

Eb-6

Root: Eb
3rd: Gb (F#)
5th: Bb
6th: C

Therefore, the dominant function is still present, yet the color is more ominous and mysterious. Jobim uses this alternative chord in the key of G- and also in the key of F- in the second half of the bridge.

Bossa Nova Chord Progressions: B section of the Antonio Carlos Jobim tune Dindi

Check out this beautiful version of Dindi by Astrud Gilberto:

6. Vou Te Contar (Wave)

Wave is a beautiful Antonio Carlos Jobim Bossa Nova song featuring a twelve-bar A section with some bluesy qualities and rich Bossa Nova chords.

The A section starts in the key of D major with a Dmaj7 chord. The Bb°7 chord functions like a dominant chord (A7b9) and changes to an A-7 chord, a minor v chord in the key of D.

Bossa Nova Chord Progressions: First 4 bars of Wave

However, like any good blues, we are temporarily moving to the IV (G major) in the second system, so we can also see this change as a ii, which moves to a V chord (D7b9).

Bars 5 - 8 of the jazz standard Wave

From Gmaj7, we move to a minor IV chord before playing a series of secondary dominants to take us back to the tonal center. These dominant chords make a classic III – VI – II – (bVI) V chord progression.

Bossa Nova Chord Progressions: [III - VI - II - V] in the A section of Wave

However, instead of resolving to a D major chord, the tonic chord, we resolve to a D-7 chord and play a ii-V figure in the key of C. This is an example of borrowed harmony or modal interchange. Here, we are borrowing from D Dorian.

Here is the entire A section:

Bossa Nova Chord Progressions: The A Section of the jazz standard Wave

Check out a classic version of the tune Wave to hear this Bossa Nova chord progression in action:

For more on jazz chord progressions, check out this article on nice jazz chord progressions you need to know!

Take Your Bossa Nova Playing to New Heights. Join the Learn Jazz Standards Inner Circle!

Truly internalizing Bossa Nova chord progressions requires carefully studying the recordings and compositions of great Bossa Nova tunes.

If you want to take your musical abilities to the next level and master jazz subgenres like Bossa Nova, then you need to check out the Learn Jazz Standards Inner Circle.

We have everything you need to take your jazz playing to the next level.

Want to improve in 30 days or less? Check out what the Inner Circle has to Offer.

TAKE YOUR JAZZ PLAYING TO THE NEXT LEVEL.

We help musicians of all instruments start improvising confidently over jazz standards in just 30 days without mind-numbing hours of practice or the overwhelm.

TAKE YOUR JAZZ PLAYING TO THE NEXT LEVEL.

We help musicians of all instruments start improvising confidently over jazz standards in as little as 30 days without mind-numbing hours of practice or the overwhelm.

“Jazz music is the power of now. There is no script. It’s conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.”

WYNTON MARSALIS

YOU MAY ALSO BE INTERESTED IN

How to Get Better At Swing Feel and Jazz Phrasing

Learn To Play Blue Bossa! Beginner Blue Bossa Chords Lesson

DOWNLOAD FREE GUIDE “Blue Bossa” is an important jazz standard and a quintessential milestone for any musician interested in learning

The Top 25 Jazz Standards You Need to Know

What Are The 30 Best Jazz Albums Of All Time?

DOWNLOAD FREE GUIDE If you are interested in learning jazz, you’ll eventually come to this burning question—what are the best

What to Do If Your Playing Is Not Improving

Jazz Trumpet Players Beginners Guide: Start Here!

DOWNLOAD FREE GUIDE So, you want to try your hand at playing jazz trumpet. Well, you’ve come to the right

OUR PROVEN PROCESS FOR LEARNING JAZZ STANDARDS LIKE A PRO

A step-by-step guide for how to effectively learn jazz standards so you’ll feel confident playing them, and won’t forget them.

TERMS AND CONDITIONS

Welcome to LearnJazzStandards.com! We’ve created this page so that you (and any visitor to LearnJazzStandards.com) will understand the terms and conditions that govern your use of this website. If you continue to browse and use this website you are agreeing to comply with and be bound by the following terms and conditions, which together with our privacy policy comprise our (LearnJazzStandards.com’s) entire relationship with you.

Exclusion of Liability

The content found on any page of this website is for your general information and use only, and it is subject to change without notice. Neither we nor any third parties provide any warranty or guarantee as to the accuracy, timeliness, performance, completeness or suitability of the information and materials found or offered on this website for any particular purpose. You acknowledge that such information and materials may contain inaccuracies or errors and we expressly exclude liability for any such inaccuracies or errors to the fullest extent permitted by law. Your use of any information or materials on this website is entirely at your own risk, for which we shall not be liable. It shall be your own responsibility to ensure that any products, services or information available through this website meet your specific requirements.

Indemnity

By accessing our website, you agree to indemnify and hold us harmless from all claims, actions, damages, costs and expenses including legal fees arising from or in connection with your use of our website.

Copyright Laws & Intellectual Property

This website contains some material which is owned by or licensed to us. This material includes, but is not limited to, the design, layout, look, appearance and graphics. Reproduction is prohibited other than in accordance with the copyright notice, which forms part of these terms and conditions. All logos, trademarks, and other intellectual property found on LearnJazzStandards.com are the property of their respective owners. They do not indicate ownership, affiliation, sponsorship, or any other relationship with LearnJazzStandards.com. In addition, this website may also include links to other websites. These links are provided for your convenience to provide further information. They do not signify that we endorse those websites, and we have no responsibility for the content of those linked websites.

Unauthorized Use

Your use of this website and any dispute arising out of such use of the website is subject to the laws of the United States of America. Any unauthorized use of this website may give rise to a claim for damages and/or be a criminal offense. Thanks, and enjoy LearnJazzStandards.com!

Return Policy for Products

Refund Policy

For play-alongs and eBooks:

Because these are digital downloads, and not returnable, we have a strict no refund policy. All purchases are final and cannot be reversed. Please be sure that you fully understand the product you are purchasing and what is and what is not included. Of course, if you ever have any questions about a product feel free to contact us or visit our FAQ page.

For 30 Days to Better Jazz Playing eCourse

Please make sure you completely understand the product you are buying before purchasing. 14 Day 100% Money Back Guarantee

This guarantee lasts 14 days, which completely covers almost half of the course, enough for you to observe its’ effectiveness.
We can’t guarantee you will be Miles Davis, Charlie Parker, or John Coltrane in 2 weeks. We’d be suspicious of anyone who could promise that. Becoming a better jazz musician is a process and it requires work.
If you’re not happy with the quality of this program…send us an email and showing you did the work. We’ll refund 100% of your money (We’ll even eat the credit-card processing fees) and we’ll part as friends. We believe in the power of this course and so we’ll take responsibility for it.

For Inner Circle Membership

Please make sure you completely understand the product you are buying before purchasing. 30 Day 100% Money Back Guarantee

This guarantee lasts 30 days, which is enough for you to observe the membership’s effectiveness.
We can’t guarantee you will be Miles Davis, Charlie Parker, or John Coltrane in 30 days. We’d be suspicious of anyone who could promise that. Becoming a better jazz musician is a process and it requires work.
If you’re not happy with the quality of this program…send us an email and showing you did the work. We’ll refund 100% of your money (We’ll even eat the credit-card processing fees) and we’ll part as friends. We believe in the power of this course and so we’ll take responsibility for it.

Rights of use

All digital products are for the use of the individual customer only. Redistribution or reselling of our digital products is strictly prohibited and a violation of United States and New York State law.

PRIVACY POLICY

At Learn Jazz Standards LLC, we recognize that privacy of your personal information is important.

Here are the types of personal information we may collect when you use and visit LearnJazzStandards.com, and how we safeguard your information. We never sell your personal information to third parties.

Log Files

As with most other websites, we collect and use the data contained in log files. The information in the log files include your IP (internet protocol) address, your ISP (internet service provider, such as AOL or Shaw Cable), the browser you used to visit our site (such as Internet Explorer or Firefox), the time you visited our site and which pages you visited throughout our site.

Cookies and Web Beacons

We may use cookies to store information, such as your personal preferences when you visit our site. This could include only showing you a popup once in your visit, or the ability to log in to some of our features, such as forums. We collect this information to help send you only pertinent content that we believe you are interested in and will benefit from.

We also use third party advertisements on LearnJazzStandards.com to support our site. Some of these advertisers may use technology such as cookies and web beacons when they advertise on our site, which will also send these advertisers (such as Google through the Google AdSense program) information including your IP address, your ISP, the browser you used to visit our site, and in some cases, whether you have Flash installed.

This is generally used for geotargeting purposes (showing New York real estate ads to someone in New York, for example) or showing certain ads based on specific sites visited (such as showing cooking ads to someone who frequents cooking sites).

DoubleClick DART cookies

We also may use DART cookies for ad serving through Google’s DoubleClick service, which places a cookie on your computer when you are browsing the web and visit a site using DoubleClick advertising (including some Google AdSense advertisements).

This cookie is used to serve ads specific to you and your interests (“interest based targeting”). The ads served will be targeted based on your previous browsing history (For example, if you have been viewing sites about visiting Las Vegas, you may see Las Vegas hotel advertisements when viewing a non-related site, such as on a site about hockey).

DART uses “non personally identifiable information.” It does NOT track personal information about you, such as your name, email address, physical address, telephone number, social security numbers, bank account numbers or credit card numbers. You can opt-out of this ad serving on all sites using this advertising by visiting http://www.doubleclick.com/privacy/dart_adserving.aspx

You can chose to disable or selectively turn off our cookies or third-party cookies in your browser settings, or by managing preferences in programs such as Norton Internet Security. However, this can affect how you are able to interact with our site as well as other websites. This could include the inability to login to services or programs, such as logging into forums or accounts.

Deleting cookies does not mean you are permanently opted out of any advertising program. Unless you have settings that disallow cookies, the next time you visit a site running the advertisements, a new cookie will be added.

Email Addresses

If you share your email address with LearnJazzStandards.com via the contact page, we will only use it to contact you, and will NOT add you to any lists or newsletters without your consent.

In addition, if you sign up for the free newsletter, your email address will only be used to send special offers and updates from LearnJazzStandards.com. Addresses are recorded and kept secure through MailChimp, which we use to distribute information to our subscribers. Neither MailChimp nor LearnJazzStandards.com will give or sell your address to any third party, nor will you be added to any additional lists.

Right to Be Forgotten

If at any point you wish to be completely deleted from our databases, whether it be as a newsletter subscriber or an account holder on learnjazzstandards.com, you have the complete right to do so.

Contact us, and we will ensure your data is cleared from our system.

Data Control Contact

If you ever wish to reach out to us regarding the use of your data, we are reachable at [email protected]. Additionally, you can use our contact page, to reach out any time.

In short, your information is safe with us, and we greatly value your trust.

Thanks for using Learn Jazz Standards!

Terms of Use

Welcome to LearnJazzStandards.com!

We’ve created this page so that you (and any visitor to LearnJazzStandards.com) will understand the terms and conditions that govern your use of this website.

If you continue to browse and use this website you are agreeing to comply with and be bound by the following terms and conditions, which together with our privacy policy comprise our (LearnJazzStandards.com’s) entire relationship with you.

Exclusion of Liability

The content found on any page of this website is for your general information and use only, and it is subject to change without notice.

Neither we nor any third parties provide any warranty or guarantee as to the accuracy, timeliness, performance, completeness or suitability of the information and materials found or offered on this website for any particular purpose.

You acknowledge that such information and materials may contain inaccuracies or errors and we expressly exclude liability for any such inaccuracies or errors to the fullest extent permitted by law.

Your use of any information or materials on this website is entirely at your own risk, for which we shall not be liable. It shall be your own responsibility to ensure that any products, services or information available through this website meet your specific requirements.

Indemnity

By accessing our website, you agree to indemnify and hold us harmless from all claims, actions, damages, costs and expenses including legal fees arising from or in connection with your use of our website.

Copyright Laws & Intellectual Property

This website contains some material which is owned by or licensed to us. This material includes, but is not limited to, the design, layout, look, appearance and graphics. Reproduction is prohibited other than in accordance with the copyright notice, which forms part of these terms and conditions.

All logos, trademarks, and other intellectual property found on LearnJazzStandards.com are the property of their respective owners. They do not indicate ownership, affiliation, sponsorship, or any other relationship with LearnJazzStandards.com.

In addition, this website may also include links to other websites. These links are provided for your convenience to provide further information. They do not signify that we endorse those websites, and we have no responsibility for the content of those linked websites.

Unauthorized Use

Your use of this website and any dispute arising out of such use of the website is subject to the laws of the United States of America. Any unauthorized use of this website may give rise to a claim for damages and/or be a criminal offense.

Thanks, and enjoy LearnJazzStandards.com!

Return Policy for Products

Refund Policy

For play-alongs and eBooks:

Because these are digital downloads, and not returnable, we have a strict no refund policy. All purchases are final and cannot be reversed. Please be sure that you fully understand the product you are purchasing and what is and what is not included. Of course, if you ever have any questions about a product feel free to contact usor visit our FAQ page.

For 30 Days to Better Jazz Playing eCourse

Please make sure you completely understand the product you are buying before purchasing.

14 Day 100% Money Back Guarantee

This guarantee lasts 14 days, which completely covers almost half of the course, enough for you to observe its’ effectiveness.
We can’t guarantee you will be Miles Davis, Charlie Parker, or John Coltrane in 2 weeks. We’d be suspicious of anyone who could promise that. Becoming a better jazz musician is a process and it requires work.
If you’re not happy with the quality of this program…send us an email and showing you did the work. We’ll refund 100% of your money (We’ll even eat the credit-card processing fees) and we’ll part as friends. We believe in the power of this course and so we’ll take responsibility for it.

Rights of use

All digital products are for the use of the individual customer only. Redistribution or reselling of our digital products is strictly prohibited and a violation of United States and New York State law.

Learn Jazz Standards Messaging Terms & Conditions

Effective Date: October 02, 2020

This SMS message program is a service of Learn Jazz Standards. By providing your cell phone number, you agree to receive recurring automated promotional and personalized marketing text messages (e.g., SMS/MMS cart reminders, sale notices, etc) from Learn Jazz Standards. These messages include text messages that may be sent using an automatic telephone dialing system, to the mobile telephone number you provided when signing up or any other number that you designate. You give Learn Jazz Standards permission to send text messages to the enrolled cell phone number through your wireless phone carrier, unless and until you end permission per these Terms & Conditions. Consent to receive automated marketing text messages is not a condition of any purchase. Message & data rates may apply.

Message frequency may vary. Learn Jazz Standards reserves the right to alter the frequency of messages sent at any time, so as to increase or decrease the total number of sent messages. Learn Jazz Standards also reserves the right to change the short code or phone number from which messages are sent and we will notify you if we do so.

Not all mobile devices or handsets may be supported and our messages may not be deliverable in all areas. Learn Jazz Standards, its service providers and the mobile carriers supported by the program are not liable for delayed or undelivered messages.

By enrolling in the Learn Jazz Standards messaging program, you also agree to these messaging terms & conditions (“Messaging Terms”), our Learn Jazz Standards Terms of Use and Learn Jazz Standards Privacy Policy.

Cancellation

Text the keyword STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message to cancel. After texting STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message you will receive one additional message confirming that your request has been processed. If you change your preferences, it may take up to 48 hours for it to take effect. You acknowledge that our text message platform may not recognize and respond to unsubscribe requests that do not include the STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT keyword commands and agree that Learn Jazz Standards and its service providers will have no liability for failing to honor such requests. If you unsubscribe from one of our text message programs, you may continue to receive text messages from Learn Jazz Standards through any other programs you have joined until you separately unsubscribe from those programs.

Help or Support

Text the keyword HELP to the telephone number, long code, or short code that sends you our initial confirmation message to receive a text with information on how to unsubscribe.

No Warranty

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU ACKNOWLEDGE AND AGREE THAT THE MESSAGING PROGRAM IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED.

Limitation of Liability

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU AGREE THAT IN NO EVENT SHALL EITHER OF Learn Jazz Standards OR ANY PARTY ACTING ON BEHALF OF Learn Jazz Standards BE LIABLE FOR: (A) ANY CLAIMS, PROCEEDINGS, LIABILITIES, OBLIGATIONS, DAMAGES, LOSSES OR COSTS IN AN AGGREGATE AMOUNT EXCEEDING THE GREATER OF THE AMOUNT YOU PAID TO Learn Jazz Standards HEREUNDER OR $100.00; OR (B) ANY DIRECT, INDIRECT, CONSEQUENTIAL, SPECIAL, INCIDENTAL, PUNITIVE OR ANY OTHER DAMAGES. YOU AGREE EVEN IF Learn Jazz Standards HAS BEEN TOLD OF POSSIBLE DAMAGE OR LOSS ARISING OR RESULTING FROM OR IN ANY WAY RELATING TO YOUR USE OF THE Learn Jazz Standards MESSAGING PROGRAM. Learn Jazz Standards AND ITS REPRESENTATIVES ARE NOT LIABLE FOR THE ACTS OR OMISSIONS OF THIRD PARTIES, INCLUDING BUT NOT LIMITED TO DELAYS OR NON-DELIVERY IN THE TRANSMISSION OF MESSAGES.

Indemnity

To the maximum extent allowed by applicable law, you agree to indemnify, defend and hold harmless Learn Jazz Standards, its directors, officers, employees, servants, agents, representatives, independent contractors and affiliates from and against any and all claims, damages, liabilities, actions, causes of action, costs, expenses, including reasonable attorneys’ fees, judgments or penalties of any kind or nature arising from or in relation to the these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers.

Dispute Resolution

General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]