Used at the beginning of his arrangement of "What the World Needs Now (is Love)" by Burt Bacharach. This was played by his band, Brasil '66. It can be heard on the Ye Me Le studio album (1969), as well as a live record release from the 1970 World Fair in Osaka Japan, which features a longer instrumental introduction with ascending minor and Major 7th (and 9th) chords, which makes the modal nature of the harmonic structure more clear.
Different way of beaming (stemming) the same rhythmic values:
Slight rhythmic variation -- evenly-spaced(-apart) triplets:
Notice the third note -- here is a variation (different pitch value for that 3rd note in the riff/ostenato):
Same, but a whole-step higher (M2nd higher) in 'E' dorian / F#-phrygian / __ ? / 'D' Major / 'b' minor key/mode :
Or, is that 'b' dorian mode (3 sharps, not 2 sharps -- in key signature) ?:
one semi-tone down (which key is that?):
Back to original -- as it sounds on the Brasil '66 recordings:
Or, is the rhythm (the rhythmic values of the notes) more like this, instead ? :
What to do with right hand ? -- play chords: As I mentioned above, play ascending 7th chords, probably alternating between Major and minor 7ths (no dominant 7ths) that fit a mode --- which mode?: dorian or phrygian (depending upon what the harmonic "1" tonal centre is interpreted/analyzed to be).
see my http://flat.io/sean_lewczyk for "Sergio Samba"
Add (in right hand, a higher (soprano) octave register (or two?) , higher pitches (and maybe double in octaves, too).
Maybe stem both notes of (each) octave with the same beam (rather than 2 voci):
And, it goes down from the initial 'B' (octave), to 'A' -- another r.h. variation in soprano register:
Someone compared that with McCoy Tyner
original MuseScore ".mscz" file: SergioSamba_A-dorian_r.h.-chords.mscz
With keys signature of one sharp ('#'):
ii7 , i7 , ii7 , III7 ... plus a raised 3rd degree (F#) on "IV" #3 (#7)
Notice how the following two voicings are inversions of th same chord: 'G' Major 7