Samba comping, one-bar pattern — Valerio's first samba model (Track 62 A). "Sambas often feature one-measure repeating rhythmic patterns": a chord on beat 1, a rest, then a chord on the and-of-2 (in cut time: the second eighth after the half-bar) that is held through the rest of the bar. The left hand and bass play the surdo: half notes, root then fifth, with the second one heavier.
The feel: samba is in 2, fast, and the second beat of each bar is the strong one — the opposite of what a 4/4 ear expects. The held chord that starts just after beat 2 is what gives the pattern its lift. The percussion layer is a plain eighth-note pulse; samba has no clave in the Cuban sense (the tamborim's partido alto is in the guitar pattern).
Listen for the long chord ringing against the next bar's bass note; keep the first chord short.
Practice: tap the bass half notes with your foot, accent the second; then place the and-of-2 chord so that it lands just before the foot comes down. Tempo is the quarter note, so 200 = half note 100.