" Senior Writer/Editor: Jonathan Feist
Writer/Editor: Susan Gedutis
0-634-02143-5
ViSIt Hal leonard Online at www.halleonard.c~m
CONTENTS Acknowledgments .....•..............................•.•.•...•........... IV CD Tracks ..............................................................v Introduction ........•........••....•...........................•......•VIII How to Use this Book •.......................•........................•.. xii Brazilian Rhythms and Songstyles .......•............................... : ...xiv Key to Percussion and Drum Set Notation .....................................xv
Section 1: Hand Percussion Rhythms, Instruments, and Techniques .....1 The Batucada .........•..........••........•.........•.•........••.1 Batucada Instruments ......................•........•................5 Batucada Riffs (Breques and Paradinhas) ..•........•..•.•.....•...•.....25 Batucada Basic Figures .............•................•......•........27 Other Instruments of the Brazilian Percussion Family .•.....•.....•.......••28
Section 2: Samba Styles on Drum Set and Percussion ..................38 Samba ...............................•..........•...............38 The Drum Set: Tips for Playing Brazilian Drum Set Styles ...•.•............•39 Escola de Samba (Batucada) on Drum Set ....•...•......•...••..........40 Samba Can~ao ...............•.......••...........•...•........•..41 Bossa Nova .....................................••..•..........•.. 44 Bossa Nova (Slow Samba) in Odd Meters .....•................••........50 Accenting the Cymbals: Samba Nos Pratos .........•.....•...............51 Samba Drum Set Patterns for Playing with Percussionists ............•....... 53 Basic Ride Patterns to Play Fast Samba ..................................54 Partido Alto .................•...........................•........56 Afro-Samba ...........•.....•.......•..•.•..........•.••••.......60 Samba Cruzado ..............•.......•.•.•...•.........•.•........64 Samba Rural .................•....................................67 Samba Funk .................•..............•.....................67 Samba in Odd Time Signatures •••...•...••.•..•••.•.•.•.••••...•.•.•• 69
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Section 3: Forro Music ...............................................73 Baiao ...........................................................73 Xaxado .........................................................76 Coco ...........................................................79 Calango .........................................................81
Section 4: Carnaval Rhythms .........................................84 Marcha and Marcha Rancho ............................... ..........84 Frevo .......................•...................................88
Section 5: Afro-Brazilian Rhythms ....................................91 Afoxe ........................................................... 91 Maracatu ........................................................94
Section 6: Sacred Music ..............................................97 Folia de Reis ......................................................97 Carimb6 ........................................................ 100 Conclusion ............................................................ 103 For Further Listening ....................................................104 Complete Recordings .................................................... 107 CD Credits ............................................................ 107 Audio Percussion Examples ...............................................108 About the Author ....................................................... 109 Glossary of Brazilian Portuguese Terms ...................................... 110 Bibliography ...........................................................117
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ACKNOWLEDGMENTS I would like to first thank my first drum set teacher Edgar Mansor. He inspired me by teaching me basic technique and sharing his love for the art of playing drums. I also want to acknowledge my other teachers in Brazil: Panchito, Duda Neves, Ze Eduardo Nazario, and especially Realcino Lima Nene, who taught me the essence of Brazilian rhythms and inspired me to write books. My friend Renato Pelado also contributed in ways he might never have imagined when he told me he needed to give a break to his family and stop practicing drums a little bit. He invited me to keep his drum set in my house for a month. I was playing the batucada instruments at the time, and his was the first kit I ever played. Playing the drum set was love at first hit! The great teacher, drummer, and friend Skip Hadden has encouraged me along the way with his friendship, insights, and suggestions. Many thanks also to Dean Anderson and Ron Savage at the percussion department at Berklee, Debbie Cavalier at Berklee Press, and Berklee Press editor Susan Gedutis, for her input and long hours of editing the book. Thank you to musicians Sula da Silva, Jose Pienasola, Oscar Stagnaro, Alon Iavinai, Alfredo Cardim, Joao Marcos, and Gustavo Amarante for their great musicianship in making the audio recording. Thanks to my friends Skip Hadden, Sula da Silva, Pedro Ito, Welton Arantes, and especially Deraldo Ferreira at the Brazilian Cultural Center in Cambridge for lending me instruments. I am very fortunate to have a loving network of family and close friends who have helped to make this project possible. I first thank my parents Alberto and Maria Jose R. Almeida for their love, for always being on my side, and for giving me the initial tools to fly in pursuit of my dreams. I have also always been able to count on the love and support of my brother Alexandre and my sister Andrea. Many thanks to my family in Bahia, especially my mother-in-law Wandinha Sampaio, brother-in-law Berega, and my sister-in-law Virginia Sampaio, for being a constant source of encouragement and support in providing material and instruments. Tia Dirlene Mendon<;a and Rosane Mendon<;a have also been very helpful in completing the project. Thanks to Paulo Freitas for the Carnaval photographs and Shawn Girsberger for the percussion instrument photographs. Finally, my deepest thanks go to my wife Verena, for her love, dedication, and endless support. She encouraged me to finalize this project. She's my toughest critic and my number-one fan.
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CD TRACKS 1. Introduction 2. Batucada audio, example 1 3. Surdo de marca<;ao, example 1 Surdo de marca<;ao, example 2 4. Ganzel, example 1 Ganzel, example 2 5. Chocalho de platinelas, example 1 Chocalho de platinelas, example 3 6. Reco-reco, example 1 7. Caixa, example 1 Caixa, example 2 8. Tarol, example 1 Tarol, example 2 9. Tamborim, example 1 Tamborim, example 2 10. Pandeiro, example 1 Pandeiro, example 2 Pandeiro and surdo de marca<;ao improvising 11. Agogo, example 1 Agogo, example 2 12. Cuica, example 1 13. Repinique, example 1 14. Surdo de resposta, example 1 15. Surdo de corte, example 1 16. Apito, example 1 17. Frigideira, example 1 18. Breque, example 1 Breque, example 2 19. Paradinha, example 1 20. Batucada ensemble 21. Afoxe, example 1 22. Atabaques, example 1 23. Berimbau, example 1 24. Caba<;a, example 2 25. Caixeta, example 1 Caixeta, example 2 26. Caxixi, example 1 Caxixi, example 2 27. Curimb6, example 1 28. Maracas, example 1 29. Timba, example 1 Timba, example 2 30. Triangulo, example 1
v
31. 32. 33. 34. 35. 36.
37.
38.
39.
40. 41. 42. 43.
44. 45. 46. 47. 48. 49.
50. 51. 52. 53.
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Xequere, example 1 Zabumba, example 1 Samba can':rao percussion ensemble Samba can':rao drum set, example 1 Samba can':rao drum set, example 4 Bossa nova percussion ensemble Bossa nova drum set, example 1 Bossa nova drum set, example 2 Bossa nova drum set, example 3 Bossa nova using brushes, example 1 Bossa nova using brushes, example 2 Bossa nova using brushes, hi-hat variation 1 Bossa nova using brushes, hi-hat variation 2 Slow samba odd meters (3/4), example 1 Slow samba odd meters (5/8), example 2 Slow samba odd meters (7/4), example 3 Samba nos pratos, example 1 Samba nos pratos, example 2 Samba nos pratos, example 3 Samba nos pratos, example 4 Samba drum set/hi-hat sticking 1 to play with percussionists, example 1 Samba drum set/hi-hat sticking 2 to play with percussionists, example 1 Basic samba ride cymbal, example 1 Basic samba ride cymbal, example 2 Snare drum pattern 1 with basic ride cymball Snare drum pattern 2 with basic ride cymbal 2 Escola de samba (batucada) drum set, example 1 Escola de samba (batucada) drum set, example 2 Escola de samba (batucada) drum set, example 3 Partido alto percussion ensemble Partido alto drum set, example 1 Partido alto drum set, example 2 Partido alto inverted drum set, example 2 Partido alto variations drum set, example 1 Partido alto variations drum set, example 2 Afro-samba percussion, example in 214 Afro-samba percussion, example in 6/8 Afro-samba drum set, example 1 Afro-samba drum set, example 2 Afro-samba drum set, example 6 Samba cruzado, example 2 Samba cruzado, example 3 Partido alto cruzado, inverted, example 1 Partido alto cruzado, example 2 Samba rural, example 1 Samba funk, example 1 Samba funk, example 2
54. Samba snare drum patterns in 3/4, example 1 Samba snare drum patterns in 5/8, example 1 (hi-hat variation A) Samba snare drum patterns in 5/8, example 1 (hi-hat variation B) Samba snare drum patterns in 5/8, example 2 Samba snare drum patterns in 7/8, example 1 (hi-hat variation A) Samba snare drum patterns in 7/8, example 1 (hi-hat variation B) Samba snare drum patterns in 7/8, example 3 55. Samba using cymbals in 3/4, example 1 Samba using cymbals in 5/8, example 1 Samba using cymbals in 7/8, example 1 56. Baiao percussion ensemble 57. Baiao drum set, example lA using toms and IB using hi-hat on the downbeat Baiao drum set, example 2 Baiao drum set, example 3 Baiao drum set, example 4 58. Xaxado percussion ensemble 59. Xaxado drum set, example 1 Xaxado drum set, example 2 Xaxado drum set, example 4 60. Coco percussion ensemble 61. Coco drum set, example 1 Coco drum set, example 4 62. Calango percussion ensemble 63. Calango drum set, example 1 64. Marcha percussion ensemble 65. Marcha drum set, example 1 66. Marcha rancho percussion ensemble 67. Marcha rancho drum set, example 3 68. Frevo percussion ensemble 69. Frevo drum set, example 1 Frevo drum set, example 5 70. Afoxe percussion ensemble 71. Afoxe drum set, example 1 Afoxe drum set, example 2 72. Maracatu percussion ensemble 73. Maracatu drum set, example 1 Maracatu drum set, example 2 74. Folia de reis percussion ensemble 75. Folia de reis drum set, example 1 Folia de reis drum set, example 2 76. Carimb6 percussion ensemble 77. Carimb6 drum set, example 1 Carimb6 drum set, example 2 Carimb6 drum set, example 4 78. Bossa nova play-along 79. Samba play-along :~This track may be used to play along with all the samba styles in the book. 80. Baiao play-along *This track may be played along with all the forr6 styles in this book.
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INTRODUCTION This book will help you learn to play the most popular and influential Brazilian rhythms on both traditional percussion instruments and on the drum set. In Brazil, we are a culture who loves music. Rhythm is as essential to our music as melody; all types of Brazilian music are accompanied by percussion instruments, a drum set, or both. As Brazilian music has spread in popularity, drummers around the world use Brazilian rhythms in their music. This book shows you how the percussion instruments interact in many styles of Brazilian music and also how to transfer these instrument patterns to the drum set. In studying this book, you will learn a new way of expressing your music. You will learn a new language-the language of Brazilian rhythms and music. First, you will practice the basic rhythms and techniques of the hand percussion instruments, because they are traditional to the music. The drum set came later. The ideas for drum set playing come from patterns of traditional rhythms played by the percussion instruments individually or combined. You'll then concentrate on grooves and time feel. Drummers develop their own approach to playing grooves, using the main patterns of the percussion ensemble to get the right pulse and feel for the rhythm. Understanding the basic groove of each style can help you later develop greater improvisational skills on the drum set or hand percussion instruments, especially when playing "Brazilian jazz." Listen to CD track 1 to hear the sound of an instrumental maracatu piece. This book contains theoretical explanations of musical styles that were taught in Brazil through oral and practical means by generations of the past four centuries or so. Sometimes a groove or a feel cannot be expressed on paper by music notes and accents. Listening to the music is much more important than reading the music, so be sure to listen to the enclosed CD and other Brazilian recordings to learn about traditional scales, notes, harmony, articulation, and phrasing. Each rhythm and musical style is presented in three parts. First, I provide a brief history of each rhythm. I hope that understanding the history and the culture will help you get the feel and essence of the music. Then I show you the basic rhythm with a percussion ensemble. (Refer to section 1, "Hand Percussion Rhythms, Instruments, and Techniques," to learn the techniques of playing individual instruments.) Try to understand each basic part of the percussion ensemble and how it relates to the entire percussion ensemble feel. Finally, you'll learn the drum set grooves for each style. Each songstyle rhythm is demonstrated on the audio CD, both as a percussion ensemble and on drum set. The recording also contains musical examples for you to listen to and learn from. At the end of the CD, I've added play-along tracks with some of the songstyles. Play-alongs include bass and piano. Use the CD as a reference, listening to how the instruments sound and how the rhythms are articulated: Track 78 Track 79 Track 80
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Bossa nova play-along Samba play-along BaHio play-along
HISTORY AND ~VOlUTmON OF THE RHYTHMS AND MUSIC Brazilian music today is a result of five hundred years of history and musical convergence among the native Brazilians and the many different people that colonized Brazil. The most influential cultures were the indigenous people, the Portuguese settlers, and the African slaves who the Portuguese brought with them. Each group made unique contributions to the creation of Brazilian music and culture.
TH E PORTUGUESE "DISCOVERY" Brazil was "discovered" in 1500, when Portuguese explorer Pedro Alvares Cabral and his tall ship landed south of what is now the state of Bahia, in the northeast of Brazil. Initially, the Portuguese thought the land had no value, but soon they discovered that a beautiful red dye could be made from one of its trees. The tree was called pau brasil, and Brasil was later adopted as the new colony's namesake. This discovery triggered years of trade and settlement from some European countries, mainly Portugal.
INDIGENOUS PEOPLES' INFLUENCE The native population of Brazil was composed of numerous tribes, each with unique cultures, costumes, and musical styles. Their music served two different purposes. It was a vehicle for magic-religious rites honoring their ancestors, expressing grief at their loss, celebrating their courage, and hoping to meet and dance with them above the higher mountains after death. It also celebrated the beauty of natural elements such as birds and trees. The indigenous songs were typically sung as solos or in chorus, often using musical and dance accompaniment. Brazilian indigenous peoples' greatest contribution to the evolution of Brazilian music was their wind and percussion instruments. Their hand-clapping and foot-stamping rhythms, rattles, sticks, shakers, and drums (ceramic, wood, and water drums, not skin-headed drums like the Portuguese and the Africans) became a definitive part of Brazilian music today. They also had an array of wind instruments, built from such materials as leaves, bamboo, tree branches, ceramic, gourds, horns, and even bones. These include whistles, trumpets, and several types of flutes.
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PORTUGUESE INFLUENCE The Portuguese started trying to influence the indigenous people right at the first mass celebrated by the priests who came with Cabral. One of these priests, Rev. Maffeo, was a musician. He used his music to influence the spirit of the indigenous people present at the mass by convincing them that the devil is afraid of soft melodies and harmony-and that using western European music would keep the devil away. (The Portuguese also tried to convert the indigenous peoples by less noble means.) However, the merge of the two cultures would only be achieved through the work of the Jesuits, who also used music to convert the native people to Catholicism. The first six Jesuits arrived in Brazil in 1549 with Tome de Souza, the first general governor of Brazil. Among them was the priest Manuel da Nobrega. In 1553, Duarte da Costa, the second general governor, brought a new group of Jesuits, including the priest Jose de Anchieta. The Jesuits knew that the best way to achieve success in the conversion of the people of this New World would be through instructing the children. The Jesuits built schools, churches, and missions throughout Brazil. Father Manuel da Nobrega and Father Jose de Anchieta (Apostle of Brazil) were the Jesuits who contributed most to this conversion. They created most of the outreach programs and wrote several religious pieces, poems, and stories, in which both the indigenous and Portuguese languages were used. In these stories, tales about miracles were extensively exploited to make the native people think that the Jesuits' religion had special power. The Jesuits used music and chanting, as well as dancing and instrument playing, to impress the native people. Chanting and music were the most important ingredients in the Jesuits' religious instruction. The Jesuit conversion of indigenous children to Catholicism was highly successful. For a long time, the Jesuits were the only access that native Brazilians had to European culture, religion, and education, and this was one of the main reasons sacred music spread throughout Brazil. Meanwhile, the Portuguese brought the tonal system, traditional chant forms, and syncopated rhythms (later enhanced with the African influence). The Portuguese also brought dances like the ciranda (a children's dance) and popular religious celebrations such as the Reisados. While the Portuguese and native Brazilian people remained segregated, the music connected the two cultures via the work of the Jesuit missionaries. Portuguese musical instruments also played an important role in the evolution of what is Brazilian popular music (abbreviated as MPB in Brazil) today. The Portuguese introduced instruments like the cavaquinho (small four-stringed guitar), the 6-string acoustic guitar, the clarinet, the piano, the violin, and other classical instruments, as well as the sanfona (accordion), the triangle, and the pandeiro, which was brought to the Iberian Peninsula (Portugal and Spain) by the Roman and Arab peoples.
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AFRICAN INFLUENCE The African influence was essential to the development of Brazilian music throughout the more than three centuries of slavery. In 1538, much earlier than many people think, the Portuguese started to bring African slaves to Brazil. These African slaves had been brought to Portugal in the fifteenth century, and from there to Brazil. Therefore, the first African influence to Brazilian music came already with a Portuguese accent. Later, the two main groups of African tribes to be brought to Brazil were the Sudanese and Bantus-from Angola, Congo, and Mozambique. For the Africans, music and drumming were an integral part of daily life. Contrary to their counterparts in North America, Africans were able to maintain their tradition in Brazil, where drumming accompanied religious ceremonies and dances. The African slaves in Brazil also benefited from the musical instruction given by the Jesuits. They formed orchestras and choruses, performed small operas, and participated in the musical groups at sacred celebrations. The cross-influence is apparent in the many African instruments that are so important to the music today. These include many types of drums such as the atabaques, as well as bell and friction instruments such as the agog6, reeo-reeo, euiea, berimbau, eaxixi, and many other types of shakers. The Africans also brought syncopation, melodies using the minor seventh scale note, certain types of verse/chorus musical forms, and other important elements. All of the music performed and composed in Brazil from 1500 to 1780 remains unwritten. This period represents an important but anonymous part of the history of Brazilian folkloric music. During this period, the music of many cultures converged. The African slaves and the native peoples used music mostly for their religious rituals, while the Portuguese had religious, military, and social uses of music. These celebrations were transformed over time, and new musical variations arose through the interactions between the races. All these racial combinations made Brazilian culture very rich-especially music, which best represents the soul of all the people. While this book represents only a sample of the many musical forms of Brazilian music, it contains the most popular and influential Brazilian rhythms and songstyles performed in Brazil and around the world.
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HOW TO USE TH IS BOOK The material presented here can be learned in a few different ways, depending on your technical skills and familiarity with Brazilian music. Many of the examples in this book require intermediate- to advanced-level drum set coordination. The more comfortable you are with foot technique, stick control, and independence, the better you will play the rhythms. And of course, you must have good timekeeping. The primary role of the drum set and percussion in music is timekeeping. Sometimes percussion instruments are used to fill in or to contribute a variety of sounds to the arrangement. No question, you are only able to make the music sound good if you can keep good time. There are a few rules to follow, whether you are a beginner or advanced player. • Always try to produce a good sound, paying attention to the basic technique involved. • Try to get a groove with a nice flow and evenness, using the metronome for reference. Start at slow to medium tempos. • Focus on building endurance in playing the grooves. Practice maintaining a steady sound and time feel for about five to ten minutes each, at a range of tern pos. Play first in a medium tempo, and after mastering the exercise, stop and start again at a new tempo. Try a slower tempo then stop. Then practice at a faster tempo. Always stop playing between tempo changes. This will prevent you from getting into the bad habit of rushing or dragging. • Remember that you play what you practice. If you practice without discipline, you will play that way. • Finally, experiment with improvisation, always obeying the style and using the "phrases" of the new musical language you are learning. Each style is presented with its related percussion instrument parts and its drum set interpretation. Keep in mind that, with the exception of boss a nova, the drum set was not originally used in folkloric music. The instrument itself is kind of new, but the rhythms are old.
If you are a drum set player, learn the percussion parts first. Be sure to follow the order of the book. First, learn the batucada instruments and then the basic phrases of the other percussion instruments. If possible, try to play on the correct instruments. If you don't have access to Brazilian percussion instruments, there are some good substitutes.
• • • •
•
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An egg shaker can be used as the overall shaker for this book. The floor tom can play the role of the surdos, zabumbas, or other low-pitched instruments. A 10" or 12" tom tuned very high using thinner drum heads can provide the sound of the repinique. You can also imitate the sound of the tamborim by playing phrases using cross stick on the snare drum. Use the bell and the body of the cymbal to simulate the high and low tones of the agogo.
These instruments provide the basic sounds you need to learn the rhythms of the book, and will enable you to understand better the roots of the rhythms. You may apply your own ideas and changes, but to get more out of the book, you need to know the tradition and foundations of the style. If you are a percussionist, learn or review the rhythms presented. Try to get ideas of instrumentation for solo playing or when playing with a drum set player. Try the rhythms on a drum set if you have one available, and if you have basic drum set skills and a reasonable degree of hand/foot coordination. If the drum set is new to you, start by playing rock-oriented grooves on the drum set to understand the downbeat and backbeat relationship. Do the exercises to help develop independence. Listening, repeating, and imitating are the best ways to learn these rhythms. You may find it helpful to work under the guidance of a teacher who knows this material, but if you do not have one, listen to the examples on the CD and try to get the same sound and feel. It is essential that you listen to recordings and attend live performances of these styles. Practice the examples while listening to both the audio examples on the enclosed CD and other recordings of Brazilian music. I've included a discography organized by musical style at the end of the book. When listening, your first goal should be to identify the rhythms, their names, and their feel. Listen to what the lower drum (surdo, zabumba, or atabaque) is playing. Next, learn to recognize the similarity and differences between these low drum patterns. Being able to identify the rhythms will help you find the right groove for any given Brazilian piece. Each style of music has its own sound. Constantly record yourself playing each exercise. By doing so, you can compare the way you sound to the music on the enclosed CD. Just as you use a mirror to see how you look, you can use your recordings to hear how you sound. Write the date on the tape or CD of your studies and performances, and listen back to the best samples of the same material in a month. Compare this with material recorded about four months later, and you'll see how you've improved and developed your ideas and phrases. Always monitor your time feel using a metronome. Brazilian music is written and felt in 2/4 time signature. Rhythmic patterns such as the baiiio, xaxado, and chorinho need only one measure to be completed. The samba, bossa nova, frevo, and maracatu patterns need two measures to be completed. There is a Carnaval beat called Ze Pereira that needs four measures to be completed. Brazilian music is not based on 3-2 or 2-3 clave, contrary to what many people think. (The clave rhythmic patterns are actually characteristic of Cuban music.) The rhythmic patterns in Brazilian music are made to fit the basic melodic motifs of the many songstyles. Brazilian melodies and rhythms are very inspiring, and therefore, it is possible to have many variations when playing rhythms such as samba, baiiio, frevo, bossa nova, maracatu, forr6, or afoxe. When practicing the material, concentrate on getting a relaxed feel. You will sound tense if you are pushing the tempo up by playing ahead of the beat, or playing too much on top of the quarter note, sounding mechanical like a drum machine. When playing these styles, the rhythm has to breathe, be firm, and sound like a relaxed groove. Pay attention to the articulation and the way that your instrument handling affects the sound that you get. The reproduction of the groove must be precise and the sound you reproduce has to be solid so the flow doesn't get unstable. Generally, do not use excessive power when playing this music. Relax. Release all the tension in your body. Music is a human thing. It has to breathe.
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BRAZILIAN RHYTHMS AND SONGSTYLES The many rhythms in Brazilian music are categorized into hundreds of musical styles. For example, we say samba is a rhythm, yet it has many different derivations, including samba batucada, samba de breque, pagode, partido alto, and samba canfaO. These derivations differ by tempo, lyrics, motifs, and arrangement. The traditional sambas from Bahia have a verse/chorus form. The first verse is sung by the soloist, followed by another verse sung by the other vocalists (usually the dancers participating on the roda, or samba circle). It serves as the chorus. From Bahia, the samba spread throughout Brazil, arriving in the morros (slums) in Rio and becoming the urban samba we know today. The (orro rhythms (baiao, xaxado, coco, etc.), the Carnaval rhythms ((revo and marchas), as well as many other Brazilian rhythms, basically follow the verse and chorus form. They can be identified by a dominant rhythmic pattern that may be produced by a single instrument or by the combined sound of two or more rhythmic patterns played simultaneously. Samba styles such as chorinho and bossa nova, along with the baiao and Carnaval rhythms, are the most known and have contributed most to popular music styles around the world. Other styles, however, influenced contemporary Brazilian music and have developed only in Brazil. These include a(oxe, xote, xaxado, and maracatu. We label all the music done in Brazil as Musica Popular Brasileira (MPB), Brazilian popular music. MPB may even have a rock, soul, or blues influence. Most Brazilian popular music includes vocals, but some instrumental styles such as chorinho and (revo also fit in the popular music category. Brazilian songstyles may be categorized like this: • Popular: Generally, all the styles-but mainly, samba styles (pagode, bossa nova, axe, and others), Carnaval styles (marchas, (revo, enredos), rock styles, and (orro (baiao, xaxado, xote, coco, lambada) • Religious: Candombte, Macumba, carimbo, a(oxe, umbanda, congadas, and Folia de Reis • Semi-Religious: maracatu, bumba meu boi, curimbo • Folkloric: capoeira, ciranda, caterete, caboclinhos In six sections, this book covers: • Hand Percussion, to give you an idea of the wide range of Brazilian percussion instruments, with instructions on how to play them • Samba, the most important root rhythm in all of Brazilian music • Forro, the popular music that came from the northeastern region of Brazil; includes rhythms such as baiao and xaxado • Carnaval Rhythms, the rhythms used for the Carnaval parades, in clubs, and for street dancing • Afro-Brazilian Rhythms, which are related directly to Afro-Brazilian religion • Sacred Music, which includes other religious music, such as the Reisados We will start with a description of the instruments in the batucada and other rhythms. We begin with the batucada because it is a style of samba that includes only percussion instruments.
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KEY TO PERCUSSION AND DRUM SET NOTATION Percussion instrument patterns will be always written on the third space, unless specified otherwise on the music itself. I will use both black-headed notes and "x" notes (usually for high-pitched instruments.)
DRUM SET KEY
II
J Bass Drum
Abbr: BD
r
~
Snare Drum
Cross Stick
r r r Rim Shot
SD
J
J
J
r
J
J Hi-hat Splash
High Tom
Mid Tom
Floor Tom
Hi-hat w/Stick
Ride Cymbal
Hi-hat wlFoot
UT
MT
FT
UU
Ride
UU w/foot
0
Ride Bell
PERCUSSION KEY Surdo
Repinique
+
II
« Muffle with left hand
0
r
Ir
r
Left hand muffles surdo and right hand hits it at same time
Right hand hits the surdo for an open sound
Rim shot closer to center
~
J
f'
F
Caxixi alone
Low note/ Stick hits open string wire; coin loose against wire
r
High note; coin against wire
Ir Move inward! toward body
+
0
Ir
r
Rim shot near the rim
CufcaJ Reeo-Reeo
Berimbau
II
Triangulo
t
r
Move outward! away from body
Open stroke
r
Closed stroke
Xequere
I
x
j
Pull cord against shell
Hit shell with palm
Other notation elements: + closed tone o = open tone ( )= optional notes ~ = turning of left hand (tamborim, frigideira, and pandeiro) • = squeezing bells together (agogo)
=
xv
,
'!
f;·· . '.
-~
:.
'/';
'
:.;
. :.-
:
..':
'I'
I
•
'~
,",
.
.
iI,
i ,; ~
;~
i
'j'
~~
'1
. -:
1
~
',;
:
~
~
.
:!
~, :
~
, !:
, i
.~
-',
-':.:
.," !
: ',1
't"
~
~.
l -'. ,"
"
.
.'
, "
+ •
SECTION 1
HAND PERCUSSION RHYTHMS, INSTRUMENTS, AND TECHNIQUES
THE BATUCADA 2
Bal.llcada is the most important Brazilian root groove. It is a sty le of sa mba that is played
throu ghout Brazil. The term is used to describe a ny ga the rin g of peo p le on t he streets or in co urtya rds to play samba o n perclI ss ion instruments o nl )~ During the Carn aval parad es, the
barucada al so receives voca l and harmon ic acco mpaniment, to beco me saJJ1ba eJlredo . Lea rnin g th e ba tucad a fi rst w ill enable you to understa nd better the fo undati on of a ll the other rh ythms presented in the book. Understa nding a nd recognizing the batu cada 's strong a ccent o n bea r 2 (of 2/4 rime) and rh e relationship of sr rong sy ncopar ion produced by the in struments is
key to lIndersta ndin g Bra zilian Illllsic in general. The batucada ca n prov ide m 3 ny idea s for drum set playing. It consists of ca ll -and-an swer pa rrer ns, solo sectio ns, and g ro up playin g. Barucada playe rs arc kn ow n in Bra zil as rit11lislns o r bn ltlqlfeiros . Th e name "barucada" comes from rhe Africa n rh yrhm and so ngsry le ca lled ba lllqlle. Batucada is al so rhe ge ne ric name fo r a ll popular dances of African or igin .
The batucac!a llses specific Brazili an percll ss io n instrum ents slIch as repilliqlle, slfrdo de lIIarca r:iio (low surd o), slIrdo de res/Jo sl a (high smdo), slIrdo de corle (mid -s lll-d o ), caixf/ (snare),
rambor im , agog6 , afJito (wh istl e), curea, ga llza, choealho, reeo -reeD, pmldeiro, and (r igideira . A
person rhar is ca lled lIIeslre da baleria condu crs rhe batucada and cues th e break s a nd passages.
The mest rc da barcria uses ass istants to condu ct large r gro ups. You ca n a lso play the batucada feci o n rhe drum ser usi ng rhe toms and snare d rum. If a n a rran ge r as ks rhe band to p laya batucada feel in a secrion or interlude, he ofren mea ns to p lay
a sa mba bea t with drum set or percll ss ion o nl y.
Brazilian Rhythms for Drum Set and Percussion
The batucada was born in Brazil between the seventeenth and eighteenth centuries, derived from the African batuque. In the early 1900s, the batucada began its contemporary rhythmic evolution. Today it affects all levels of Brazilian society. The batucada is played and acknowledged in the entire country, and it is usual to find people playing batucada in bars and pubs, at the beach, at soccer games, in backyards, and on several (estas and public celebrations, including the Carnaval parade. The batucada is also played at escola de samba rehearsals every weekend throughout the year. When the group performing the batucada is small, we call it grupo de batucada (batucada group). When the number of instruments and batuqueiros is bigger (more than a hundred), we call it bateria de escola de samba, which means "samba-school drum section." Nowadays, the bateria section (drum section of an escola de samba) has between 250 and 500 players. The bigger escolas de samba have about three thousand members parading on the street. The escola de samba members dance and play samba for the simple pleasure of doing it, for the love of samba music. In the Carnaval parades, people dance and play in hopes of winning the Carnaval parade for their escola de samba.
BRAZiliAN CARNAVAl AND DEVELOPMENT OIF THE
~S(OlA
DE SAMBA
The Carnaval was initially a Greco-Roman holiday in which people would feast and drink to celebrate the harvest. The Portuguese introduced the Carnaval in Brazil by the name of Entrudo, which means "start" or "entrance." The name was given by the Catholic church to mark the start of Lent liturgical solemnities-a four-week period of fasting and abstinence. Entrudo was mischievous street play practiced by the Portuguese immigrants and the slaves in the eighteenth century. The main feature of the play was throwing water and other liquids and powders at people in the street. In the beginning of the nineteenth century, the rich classes in Rio were looking for a cleaner way of celebrating the Carnaval. The European mask balls inspired them. In 1840, the first mask ball took place in Rio de Janeiro. In 1854, writer Jose de Alencar sponsored the first allegory parade to have decorated parade floats. At the Carnaval of the late nineteenth century, people would sing songs from anonymous composers and play percussion in the streets. People from the middle and high social classes danced in clubs using the European musical styles of the time, such as polka, xotis, mazurkas, and waltzes. The music was provided by two or more bands so that it could continue for six to eight hours nonstop. Today, we still see several bands providing the music in clubs during the Carnaval. Although people had been singing Carnaval music written by unknown composers since 1880, the first song known to have been composed especially for the Carnaval was "6 abre-alas," by well-known composer Chiquinha Gonzaga in 1899. By the 1880s, people started to organize their own follies and parades, and the sounds of bass drums and other percussion instruments were now part of the group, as well. Gradually, people from all social levels merged to celebrate the Carnaval. From this emerged the Carnaval parade. The parades were first called cordoes (cordoned-off blocks), then ranchos (ranch blocks), blocos de sambistas (samba blocks), and finally, escolas de samba.
2
Hand Percussion Rhythms, Instruments, and Techniques
The escolas de samba grew out of the need for organization, as an attempt to put an end to the frequent riots and confusion that took place when the blocks paraded in the streets. On August 12, 1928, a group of samba composers in Rio-including Nilton Bastos, Ismael Silva, Alcebiades Barcelos (alias Bide, who also invented the surdo and introduced the tamborim in the escolas de samba), and Armando Man;al-founded the first escola de samba (samba school). It was called Deixa Falar ("let them talk") and came from the Esracio neighborhood in Rio. Many escolas de samba were created following Deixa Falar, including Unidos da Tijuca, Mangueira, Vai Como Pode {later becoming Portela}, Vizinha Faladeira, and others. Because of a nearby teachers' school, Ismael Silva thought it would be good to name this institution as "samba school," suggesting that it would be an association of samba professors. However, these were not schools in the traditional sense. They were more like community clubs or cultural associations for musicians, dancers, composers, and others interested in joining together to produce music, organize festive activities, and perform in the parade. The first official competition among the samba schools in Rio was held in 1932. The early escolas de samba were made up of about one hundred people and were divided in group structures of wings (alas). Each ala would wear costumes based on the escola de samba's color, song theme, and tradition. These alas were: • • • •
• •
Abre-alas: a sign with the escola's logo and that year's theme written on it, plus acknowledgments addressed to the press and authorities Comissao de {rente: a required ala composed by important members Mestre-sala and Porta bandeiras: the dance master and a woman carrying the escola's flag 1st Puxador and 1st Versador: The puxador is the lead singer, who starts singing the samba enredo (escola's theme). The versador improvises on the verses of the second part. Cora: the choir, which was composed of female singers dancing around the caramanchao Bateria: the percussion section Ala das Baianas: the baianas wing symbolizes the women from Bahia (tias) dressed in their white typical costumes. This is still a required ala in modern escolas de samba. They dance the samba slowly and spin in an elegant choreography.
The escola de samba Mangueira, which still exists today, won the first unofficial competition among escolas de samba in 1932. The parade competition became so popular that the government eventually got involved, recognizing the escolas de samba as an institution, and in 1935, sponsoring the first official competition. The escolas de samba could receive a sum in government funds to help in the preparation of their parade. Since then, the competitions have grown in size and scope. The parades have become so sophisticated that they are like first-class theatrical productions. Several organizations and groups contribute to financing the escolas and the parade. The escolas de samba prepare all year for the Carnaval competition. The escolas are judged for the presentation of their alas, the rhythm provided by the bateria, and the samba steps performed by the passistas (master samba dancers), among other requirements. At the Carnaval parade, the escolas are also judged on their song theme. It can be one of national celebration, politics, protest, or homage to important people.
3
Brazilian Rhythms for Drum Set and Percussion
Each escola promotes an internal songwriting competition to choose their own song theme, or samba enredo, for that year. The samba enredo is a melodic and poetic portrayal of the theme chosen for that year. Each escola has its own unique theme. The enredos may have any musical form, but they usually have two parts, each with a chorus or interlude. The parade or presentation of an escola de samba begins in the concentra~ao (setup area). This includes a large court where the escolas warm up, singing the song theme led by the first puxador and by the sound of the bateria, which is nearby. Then the escola enters the avenue, led by the comissao de frente ala (wing). The bateria parades roughly in the middle of the escola and is conducted by the mestre da bateria, the maestro (leader) of the drum section. The mestre da bateria is assisted by his directors, which can number six or more. They conduct the bateria by blowing the apito (whistle). When the parade begins, the bateria is positioned inside the recuo (which means to move back, and signifies a place where the bateria stays put, waiting to enter the parade), also referred to as "the box." The sound car is positioned next to the bateria and carries the puxadores (singers), a cavaquinho (small four-stringed acoustic guitar) player, and an acoustic guitar player-as well as the sound system that amplifies them. Sometimes a trombone or horn player is part of the arrangement. When about half or one third of the escola has entered the avenue or track, the bateria leaves the recuo, parading behind some other wing, followed by the sound car and the rest of the escola. They proceed until reaching the second recuo, a place reserved for the bateria to stop parading, turn ninety degrees, move back, and keep playing, providing the groove while the rest of the escola passes by. This place is located in the middle of the track in front of the judges. This part of the parade is a critical moment for the escola. This is the closest to the judges that the bateria plays. They have to turn around and move back into the recuo while playing, to keep the wings together without losing the beat. This special presentation for the judges requires the expertise and technique of the mestre da bateria, his directors, and the bateria itself. The bateria waits for the alas to pass by, then it returns to the avenue and resumes the parade. \Vhen the last ala has passed by, the organizers officially close that escola's presentation. At this time, the next escola has already warmed up in the concentra<;ao, and is ready to enter the track. The energy and sound produced by an escola de samba parade, with its five hundred or more percussionists and sometimes three thousand people, is incredible. Even though parts of the group may have been rehearsing all year, this is the first time they all come together with all of the people and costumes. It's amazing that so many people manage to get together a few hours before the event begins and are able to produce such a majestic event. Although the escola de samba in Sao Paulo and Bahia also present magnificent works, the escolas in Rio de Janeiro are more famous because of their quantity and size at the Carnaval parades. Rio is also where the most important evolution and developments of samba styles took place.
4
Hand Percussion Rhythms. Instruments. and Techniques
BATUCADA INSTRUMENTS We begin the music31 eX3 m p ies by stud ying the typ ica l percuss io n instruments o f th e ba t ucada.
As menti o ned carl ier, the batll cucla is the samba played b>, perclIss io n instruments o nly. T hi s barucada exa mp le begins w ith 3 shorr rep in iqu e so lo and in cludes the breque a nd the paradinh a, whi ch yo u wi ll lear n 3bo ut in thi s chapte r. O n the fo ll ow ing pages, I introduce each instrum ent, the n show yo u the rh ythm it p lays in th e barucada. We will lea rn the instrum ents in a n ord er tha t will a llow yo u get a better fee l o f the samba. Aftc r the ba tucada instr uments , we' ll ex plore the othe r Brazilia n pe rcll ssio n In struments.
O nce yo u have learned all the in strum ents indi viduall y, then I will provid e ano ther batucacl a example at a fa ster te mpo wit h a sho rr repini quc call-in phrase. And fi nall y, after the percll ss io n, we ca n begin to lea rn t he percuss io n pattern s fo r each o f the rhyth ms studi ed he re and ada pt these parrerlls [0 the dru m set.
2
Li ste n aga in to C D track 2 to hear a ba tucada ense mble.
TRADITIONAL INSTRUMENTS OF THE BRAZILIAN BATUCADA SURDO DE MAR(A~AO
(low surclo), also call ed maracallii, poi de ladas, Irell/e terra, tall/bar
surdo, and surdo de fJrim eim, is the hea rt of the batu cacla . Th e sllrd o de m arcar;ao is o ri gin all y fro m Bra zil. It is the largest a nd lowest pitched of the three surdos. T he , urd o de ma rca,ao measures approx im ately 2211 x 24ft and weighs about 'IO .S lbs. Surdos arc made Oll t o f alumi num o r wood , a nd have skin he3 ds o n bo th ends. Alce biades Ba rcelos (ali as Bicle) inve nted t he first surd o in 1928. He m3de it fro m a 50-lb. cy lindrical butte r ca n to p rov id e rhyth m fo r his samba schoo l Deixa F3b l'. T he su rd o de ma rca,ao provides the accenting o n bea t 2 o f the 2/4 time signat ure, which is the st ron ges t beat of the sa mba rhythm . They provide the basic pul se fo r the o the r instruments. T he s/II·do de res/J osto accentS beat '1 a nd the slIrdo de co rle p b ys syncopated rhyt hm s o n tOP o f beat 2.
Fig. 1. Frolll lefl
10
right, slIrdo de co rle, slI rdo de
m(1rca~iio, slfJ'do de respo sla
5
Brazilian Rhythms for Drum Set and Percussion
T he three surdos are played usin g the sa me technique: wi th a smdo stick (mace/a) in th e ri ght ha nd and bare left ha nd to muffle the sound on the weaker hit. Here a re four ba sic sttokes used to pl ay the surdo de ma rca,30: On beat 1, the left hand rests o n th e surd o head to mute the sound . T hi s hand stroke can al so be used to produce a n open to ne in oth er parts o f th e bea t.
Fig. 2. Mlfl.illg the s",do head Va riation: On bear 1, we ca n a lso str ike the surdo w ith the right hand, us ing the
left hand to mute the sound , producing a closed tone
Fig. 3. Playillg a closed tOile
6
a ll
the surdo
Hand Percussion Rhythms, tnstruments, and Techniques
On bea t 2, the ri ght hand strikes th e sllrci o with the macera, using no l11ut ing fro m the left ha nd, T hi s produces an "open" to ne.
Fig. 4. Playing
al1 opel1 tOl1e 011 the
siado
Anothe r way of p lay in g th e s mdo is to lise the ri ght hand to st ri ke t he rim of [he SlI rd o wit h the body of the sti ck, a lternatin g with open and closed tones o n the
head. Th is techni que was L1 sed in the past bur was rep laced by the repin iqucs in the esco las de sa mba. T hese are two ways of pl ayi ng the sllrcio de marcac;ao : Mu fflin g w ith t he left ha nd Mufflin g and hi tti ng a t the same time
3
Exa mpl e 1. 0
II
3
i
t
0
J
It
J
:II
Exa mple 2. o
•
o
I
J
:II
7
Brazilian Rhylhms lor Drum Sel and Percussion
GANZA is a name g iven to three di stin cr percllss ion in strum ents. In the Stare of Amazo nas, th e ganza is a sin gle-head ed cyl indrica l drum that stand s a bout 12" high. In th e north and northeastern regio n, it has th e form of an avocado fruit shaker. The usua l g an z3 llsed in th e batucada is the one o ri gin a ll y fro m Africa , a cylindri ca l can made o ut of aluminum and filled with small rock s, sa nd , o r lead pebbles .
Fig. 5. Several types of gal1ztis
Ga nzels are very
C0 111111 0 11 ill
Fig. 6. Three-canister ga nzti
many kinds of Brazi li an
Illll s i c,
including traditiona l sa mba,
barllcacla, maraC3rll, afoxe, a nd ba iao. In the esco las, the ga nz{ls sometimes consist of [wo o r
three ca nisters welded toget her to produce the bi gge r so und needed for the bateria (th e drum sectio n of an esco la de samba ). The ganz" are used to suppo rt the rhythm a nd provide the high to nes. Single ga nzas, th e o nes w ith o ne can ister, are
played w ith o ne hand hold ing the in strument at irs center.
Fig. 7. Playing position for the single-ca 11ister
ga nzti The o nes w ith severa l ca ni ste rs are played w ith two ha nds ho lding rhe instrument a t th e end s. Yo u may a lso use two ga nz3s simultaneo llsly, one in each hand.
8
Hand Percussion Rhythms, tnstruments, and Techniques
The ga llzas are played ill a ve ry simpl e way. There are two movements: forward and backward . T hese move mentS a re then repeated over a nd over. Accents are prod uced
by li tt le snaps of the
w rist, Liste n to the music fi rst to get the righ t sixteenth-note fee l. Today, the esco las have replaced the ganzas with an instrumenr ca ll ed chapillhas, ma de wit h hundreds of bottle caps (jingles) perforated in the cenrer, placed on a metal ax le, and asse m bled o n a wood or meta l frame, "'lost of the esco las use the ga nzas th ro ughout the first pa rt of the sa mba emedo and then durin g the choruses. Here are the basic ganza accents:
4
Exa mple l. >
II
4
>
2J J J J J J J J
>
•~
>
J
---1
•
J
~
•
J J J :II
Example 2.
II
2
•~ •-1
>
JJ
•~
>
JJ
>
-j
•
JJJ JJJ I
>
-J
•
J :II
an in strumen t de ri ved from indi genous maracas. T he ea rliest vers io n was a wood en shell fili ed w ith seeels o r [1I1Y rocks, on a wooden suppo rt. The re IS also a mew l ve rsion that co nsists of two cones attac heel o n bo th ends to a wooden ha nell e. T he esco las use
CHOCALHO IS
a meta l ve rsion that has lead pebbles inside and a wood en or meta l support, They also usc
chacalhas de platinelas (shaw n in fig, 8). Chacalha is a lso a generic name far sha ke rs of num erOli S forms and mate rials. These include: caxixi, maraca , piano de cltin, and xere. T he chocal ho function as th e ga nza,
[0
provide hi gh-frequency, consta nt sixteenth notes. Players
usua ll y use o ne in each hanel . O n the bat ueada s, the ehoea lha helps sustain the snare drum
rh ythm. It ca n be played with two hands accenting at the sa me tim e or alternating.
Fig. 8. Chaca lha platinelas can be held in the cellt.er or at. I.he ends .
9
Brazilian Rhythms lor Drum Set and Percussion
5
Example 1. Two hands on the downbeat >
J •i J
II
JJ JJ
>
•
i
J
JJJJ
Example 2. Two h ands on the upbeat >
J J J J 5
J
>
>
J J
J J
>
•
I
i
JJ
R
R
•
Example 3. Two hands alternating
R
R
L
R
.. I J J J J
R
L
R
J
J
J J J J J
L
L
REco-nEco is a scratcher o f Afro- indigenous o ri gin . There a rc severa l types o f reco-recos. They
may be made of bamboo, woodboard, o r meral. Th e bamboo rype has para li el cuts o n its body that a rc rubbed for wa rd a nel backwa rd with a woode n sti ck. In Ba hi a, t he reco- reco is made of a meta l cy lindri ca l box wit h springs attached o n a Batted siel e. Th e sound is produced by rubbing th e sprin gs wit h a metal st ick . The escolas usc the metal [eco-recos because they are louder. Th ey have the same fun ctio n as the ga nzas a nd chocal hos: they provide rh ythmic support fo r the eaixas a nd larois (plural for larol). T hey a re used o n the Calldomble, samba,
mor:alllbique, lIlarehas, a nd (revo so ngsty les. The reco-reco is not usua lly used in the baiiio a nd rh e maracalIl . Other names for rh e in strument in clude raspador, req lte- reque, quereqllexe, ca nztl (Ba hia), and eameaxa. Reeo-reeDs are
also played lIsing two ba sic m ovementS ca ll ed va i e ve1J1, which mea ns for ward
a nd backward motio n. In the fir st movement, the left hand ho lds the instrument, the left thumb mufBin g the spring, whil e the [ight hand rubs a meta l sti ck forward o n top of the spring(s), away fro m th e bod)<
Fig. 9. Reeo-reeo playillg leehlliqlle
10
Fig. 10. Reco-l"CCo playillg lecl1lliqlle, spril/gs 1101 //I1I ff/ed
Hand Percussion Rhythms, Inslrumenls, and Techniques
Th e seco nd movement con sists of ru bbing the spring(s) back wards w ith the metal stick, toward s the bod y, without muffling the sprin g(s) w irh the left thumb. The motion is simi lar to that of th e ga nzas, but rhe accent pa ttern is diffe rent.
6
Example 1. Accenting the downbeat
t t t t >t t t t
>
II
iJ
---i
•
J J
~
•
J
•---1
t t t t t t t t >
>
J IJ J J J J
•-1
J •-i :II
Example 2. Accenting the upbeat
t >t >t t t >t >t t II
IJ
-j
•
J J
~
•
t >t >t t t >t >t t
J •---1 J IJ J J •~ J
---i
•
J
{II
(s nare drum ), also ca ll ed cn ixa de guerra, is an instrument origin ated fr0 111 military parades. It was introduced to th e Brazilian batuca da III rhe 1950s. The C3 1xa provides sy ncopated rh ythm ic fi gures, and th e groove may have man y different acce nts. The caixas o f th e (AIXA
escolas de sa mba are a little bit different, measuring 12" X 8", They use fewer and thicker s nare
wires. So m e bate ria position the ca ixa s as they position the tar6 is, supported by the left fore ar m.
Fig. 11. Playing the caixa
Fig. 12. A handlllade caixa, used il1 the maracatu SOJlgstyle
11
Brazilian Rhylhms lor Drum Sel anci Percussion
He re a rc two ca ixa patter ns:
7
Ex ample l. R
L
R
>
=I§ J J
L
R
>
>
R
L
R
R
>
>
JJJ J J
-i
•
L
R
L
R
>
>
R
R >
J •-I J J
•---1
L
J J :11
oJ
Example 2. R
R
L
>
3f1 J
---i
TAROIS(PICCOLOSNARE l
w ith rhe tal1lbor
L >
R
R
R
L
>
J J J
•---1
•
R >
L
R
R
L
R
--i •
•-i
L
>
>
J J :II
J J J •-E
•---1
are t he less deep ca ixas. They a re al so ca lled repique (not to be confused
de repique o r repin iq lte , whi ch we w ill see later) . T he tc rm "rep iq uc" re fe rs to
the way of play ing the in strum ent, a lways using buz z st ro kes (pressed ro lls o n t he drum head ). T he ta [o l has a hi gher-pitched sO Lln d than the sna re drum. Rim shots are L1 sed morc often 0 11 it. T he ta r6 is measure 1211 X 3/5 11 or 14 " X 4 11 ,
T he ta rois a nd ca ixas pl ay the rh ythmi c patte rns th a t d isting ui sh th e groove of th e bate ri as. T hey have syntheti c heads o n bo th s ides and a rc played lI sin g regul ar wooden
sticks. T hey a re usua ll y hel d by a st rap th a t goes aro un d the p layer's neck a nd sho uld er. They a re placed in fro nt o f the pl aye r's bod y nea r the wa ist area . A shorrer strap tied
aro un d t he left s hou lder ho lds t he ta rois. T he ca ixas so un d li ke regu la r sna re drum s, bur they a re p layed w ith a d istinctl y Brazili a n
Fig. 13. Taro is
fee l. Tr y to avo id a cl ean, rudimental, or
o rchest ra l ro ll . Ca ixa notes are sho rte r a nd th e buzz strokes are longe r.
8
Exa mpl e 1.
R
L
>
=w2 8
R >
•i
J J
R
L
•
R
L
R
L
>
i
J
R
L
J
•i
•
R
L
>
>
i
J
x
L
>
J.
i •I
J :IJ
Ex a m ple 2.
>
=Hj J 12
R >
•
i
R
R
>
>
•I
J J J IJ J
(" X" m a rks indica te rim sho ts.)
L
R
R
>
>
L
R x
L
R
R >
>
i
L
J •'" J J :II
Hand Percussion Rhythms, Instruments, and Techniques
TAMBORIMS we re first brought to Brazil from Po rtu gal in 1500 in t he fo rm of a sma ll ,
single-headed Euro pean drulll measurin g 6" x 12", Th e on es we kn ow today are typi ca ll y created in Braz il. J" leasllring abo ut 6" x 211 and hav ing a single sy ntheti c head, it is th e hi ghest pitched drum lIsed in rhe barerias. T he r3mbor im was first in tro du ced in the bareria o f the esco la de sa mba Deixa Fa lar by Alcc bi ades Barcelos. Th e rambo rim prov id es rh ythmi c suppOrt and accents fo r th e ca ixas, rarois, and repiniqu cs. Th ey pl ay riffs and rh ythmi c figures that suppOrt the sa mba emedo 's mel od y and brea ks. Th e ramborim sec ti on o f th e esco l::ts lIsuall y pla ys in uni son, bur may be d ivid ed in two groups to
prov ide questio n-a nd-answer ph rasing, as conducted by rhe mcst rc cia bareri a. T he tambo rim is he ld by the le ft ha nd a nd pl ayed w ith th e ri ght hand usin g a sti ck. In th e past, they we re pl ayed using a bamboo sti ck . Toda y, a mo re resista nt and fl ex ible p las ti c stick is used. Th e plast ic stick s prov ide a loude r a nd farre r sound .
Fig. 15 . A /(11'J1bo r;m Ifsed in th e
Fig. '14. St rik ing the tambori111
Ga ndonrble songs tyle At th e ba teri as, it is comm o n to strike th e head and th e rim simultaneously with the stick . Ano ther way o f pl ay ing is to ta p the head from the insid e w ith th e left ha nd middle fin ge r, a lte rn a ting it w ith th e ri ght ha nd stro ke, or by p ress in g the left-hand middl e fin ge r to the head a t th e sa me time as th e ri ght hand stro ke to p roduce a cl osed to ne.
Fig. 16. Playing the head with the left -hand m iddle fin ger The ta mbo rim ca n be pl ayed usin g d iffe rent
strokes to achi eve a var iety o f sounds. You can use the ti p of t he stick in the cenre r o f the head, o r play rim sho ts o n the ed ge of th e rim. Yo u ca n al so play rim sho ts usin g th e sho uld er (midd le) o f th e stick, touchin g a la rge r a rea of the drum head . Ano th er tec hnique used by the bate rias is ca ll ed
the virada, or turnin g, in which the left hand turns to meet the upstroke o f the stick.
Fig. 17. Tamborilll virada tecl7llique
13
Brazilian Rhythms for Drum Set and Percussion
This rhythm, when played precisely, is very powerful. It provides an impressive visual show. When learning this technique, start slowly and gradually increase the tempo.
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Example 1. Phrase using left-hand middle finger
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The PANDEIRO is a single-headed instrument made out of wood or sometimes acrylic, with jingles (small metal plates) attached to its shell. It is of Arabic origin, derived from the adufe, which is a single-headed, square pandeiro without the jingles. The pandeiro is perhaps the most difficult Brazilian percussion instrument to master. A pandeiro is similar to the tambourine (not tamborim), except that it has a skin head, and the jingles are placed in a way that produces a less jingling sound. This gives the striking of the head (skin or synthetic) a warmer sound quality. It measures 10" to 14" in diameter by about 2" deep. The pandeiro is often a featured solo instrument in Brazilian rhythms such as capoeira, cururu, chorinho, and samba. The pandeiro was introduced in the samba by Joao da Baiana (Joao Machado Guedes, 1887-1974) when he was about ten years old. He was a member of both the Dois de Ouro and Pedra Sal ranchos carnavalescos (Carnaval blocks, which are predecessors of the escolas de samba). In 1908, the police apprehended Joao's pandeiro because it was forbidden to do the batucada in the streets of Brazil. Curiously, the next day he got a new pandeiro, a gift from Senator Pinheiro Machado, one of his admirers. Besides providing the groove in the escolas de samba, the pandeiro is used for visual tricks. Skillful players roll the pandeiro across their chest, behind their neck, down their leg, and off their foot, or spin the pandeiro on the tips of their fingers like a basketball. To play, the left hand holds the pandeiro. The first, second, and third fingers, thumb, and heel of the right hand are used to strike the top of the head. (Left-handed players, do the opposite.) The middle finger (some players use the index finger) of the left hand controls the open or closed tones. In addition, low bass tones are obtained by compressing and decompressing the left thumb, which rests across the rim on the top head.
14
Hand Percussion Rhythms, Instruments, and Techniques
BASIC PANDEIRO STROKES Th ere arc fo ur funda menta l strokes p layed by the right hand a nd th ree va riations of these .
Fig. 18. l'alldeiro stroke 1
Fig. 19. l'alldeiro stroke 2
L
2.
Use the side of the thu mb, strik ing ha rd a bo ut
2"
fro m
th e
edge
of
the
Strike the pandci ro between the center and
edge of the head, using the tips of the fi rst
head a nd snap ping the wr ist. Allow the
three finge rs. It helps if you keep t he fingers
rhum b to rebound off the instrument's
in a c1aw likc pos ition wi th th e finge rs
head a fte r contact. Thi s w ill prod uce
tOge the r. At th is st ro ke, the left ha nd whirl s
either an open o r cl osed tone, depe nding
using a s imilar movement as when
on wheth er or not
rhe virada on th e r3mbo rim .
YO ll
arc press ing the
YO ll
play
hea d with the o ther ha nd.
Fig. 20. l'alldeiro stroke 3
Fig. 21. l'{/Ildeiro slrol," 4
3.
4.
the head. Th is stro ke is acco mp lished by
Use the heel of ha nd in rh e lowe r ed ge of
Use the fin ge rt ips aga in , like st ro ke 2, bllt w ith o ut ap p lyi ng t he left ha nd tur ni ng
moving the heel of the hand dow nwa rd
movem ent.
fro m t he fin ge rti p stro ke (s t roke 2, above).
15
Brazilian Rhythms 10r Drum Set and Percussion
Other variations: Slap the head using the wrist and forehand. This should produce a sharp closed tone. • Use the full hand, striking the center of the instrument. The batucada uses two basic pandeiro rhythms: samba and samba partido alto. The numbers below the notation indicate what stroke to use (see previous page).
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Hand Percussion Rhythms, tnstruments, and Techniques
AGOGO
is a n Afro-Brazi lian folkl o ric in strument inrroduced in Brazi l by the Yo rubas (a kok6 in
Yoruba). In Brazi l, some agogo vers io ns arc a lso ca ll ed xere or gOllglle (Bantu ), The more com mo n agogo is mad e of two di ffe re nrl y p itched zinc or iron be lls jo ined by a curved metal rod . Some models inelud e three or fo ur bel ls, Even tho ugh t hey arc uSl13 lly tuned in th irds, each agogo has its own pitch and sO llne!. In :1dditio n to slista ining the groove, these d iffere ntl y pitched
bells provide melodic patterns that provide a special timbre to the groove. The agogo can be held sideways (by t he left hand ) to ma ke the ri ght hand strokes
eas ier, or straight w ith rhe stick hitting across the top of th e be ll 's m o uth (opening) to prov ide a lower to ne, The left hand can a lso squeeze the two bells together to produce a "chi ck" sound, wh ich is used as a rhythmic fi ll er that is p layed betwee n the sticked notes.
Fig. 22 . P/ayill g Ih e agogo
They are p layed usuall y w ith a t hin woode n o r meta l stick held in the ri ght ha nd. A t hinner stick wi ll produce a sma ll er sOllnd and [on e quali ty. For
:1
muffled sou nd , yo u ca n ho ld t he two bells against each orhe r w ith th e fourth finger placed between th e bells wh ile yo u hit them . You ca n also control the amoun t of
rin gi ng by positio nin g th e thumb a nd fin gers
towa rd
t he
mouth
of
t he
Fig, 23. l'/ayillg Ihe bells agaillsl each ol/Jer
in SrrUI11 Cllt.
17
Brazilian Rhythms for Drum Set and Percussion
The first rhythm below is played for samba, with both bells. The second has the agogo playing the two bells against each other on the "e" (the second sixteenth, as in "1 e + a") of each beat. ,/:-11\
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Example 1. Two-bell agogo rhythm, traditional batucada
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Example 2. Squeezing the bells together
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Example 3. Three-bell agogo rhythm
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Example 4. Four-bell agogo rhythm
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18
Hand Percussion Rhythms, tnstruments, and Techniques
CUiCA
is a meta l friction d rum , o ri ginall y made of wood, that was brought to Brazil pro bably
by the Ba ntu slaves fro m either Ango la , the Co ngo, o r Mozambique. The instrum ent is played by using th e left ha nd to rub a bamboo rod t hat is attach ed to the center o f a wel l-tied drum head, prefe rabl y a skin head. The sound is created by the vibratio n of th e head . Sizes
va ry fro m S" ro 14", Alth o ugh YO LI ca n crea te sevcraill orcs on th e cuica, it is w ri tten and pla yed morc often as a low-
and hi gh-tone in st rument. In Afr ica , it \-vas llsed for lion huntin g, beca use it ca n be mad e to imitate th e sO llnd of a femal e li o n's matin g ca ll. There are 11 0 lion s in Bra zil, but the cuiea there is a lso known onra (l eo pard ), ro ncado r (o ne who snores), tatnbor de on~a, 1Juita, omele, a nd rOl1ca
socado r. Th e cuiea is attac hed w ith a sho ul de r strap. The left hand Fig. 24. Cufcas co m e in severa l
pla)'s th e drum head, while th e right hand rubs a wet cloth
sizes and shapes.
along a bamboo stick located in side the drum.
Fig. 25. Rubbillg the bamboo sl ick lUilh the right hand The left-hand middl e finger presses the drum head fro m outs ide near the center to create hi gh-pitched so unds.
Fig. 26. Pressillg th e head of Ihe wica
19
Brazilian Rhylhms lor Drum Sel and Percussion
The low-pitched sounds are produced by rhe stick's frict io n without p ress ing [h e drum head from [he outside.
Fig. 27. Opell lon e: le(t halld does not touch the head The sou nd is modified by th e amount of pressure applied by [he left- hand middl e finger nea r the cem er of [he head . Hi gher tones arc achi eved by using [he fo u rth finge r to place added pressure o n top of th e middl e fi nger. Use t he thum b on top of these two to get even hi gher tones. T he cuiea was or igin all y used in the music o f Orixas (gods ) festiviti es o f the Candomble (the Yo ru ba religio n in Bah ia), the lvlaC/llI/ba (a derivation of [he Ca ndombli:), in the ba[ucadas, a nd in o ther st},les of sa mba. On the barucada , the cuic:l provides and supports the rh yt hm a nd a lso acts as a solo instrument. It is cl1rrenrl y llsed in a var iety of styles, rangin g fr0111 hi p-hop [0 contemporary Jazz.
12
Exam pie 1.
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Hand Percussion Rhythms, tnstruments, and Techniques
REPINIQUE
is a do uble-head ed meta l d rum o ri gin a ll y fro m Brazil. It is a lso ca lled a re/J iqlfe o r
slfrdos d e refJiq lfe. Th e in strument produces hi gh-pitched to nes usi ng semi-thin sy nthet ic hea ds. The rcpiniquc measurem ents are 12" X 10", 12" X "1'1", o r 12" x 1211. T he bi gger sizes are lI sed on
the bateri as. Besides prov id ing a co nstant, sy ncopated p ul se, the repin ique is the solo isr o f rhe batucacla a nd a lso the co- leade r fo llow ing the apito (whi stle) of the mestre da bateri a, providin g th e ca ll s for the breaks. Th e repinique is responsible for the ba la nce of rhe batu ca d ,l. T he repiniques provide rh ythmic support for t he surd os a nd stay usually nex t to thelll on the formati o n o f the batu ca da group. Becau se rh ey provide th e rh ythmic "q ues ti ons"
[0
be answered
by t he o the r in strum ents of th e ensemble, the y are usuall y played by the most ex pe rienced p layers who bette r know the ca ll-an d-answer patterns. T hey ca ll the break s and p lay pick up nOtes for the nex t segmenr of the batucada. These b rea k patterns and pi ckup-no te pa tterns ca n be either fo lk loric o r more so phisti cated, d epending o n the player a nd sty le of rhe batucada . The rep in ique is attached with a strap to th e player's wa ist or alo ng rhe sho uld er. It is played using a mid-size sti ck w irh th e ri ght ha nd, whil e th e bare lefr hand hits directl y o n th e head. The bas ic panern or steady groove co nsists of fO llr strokes.
In rhe fir st o ne, th e stick hits the center o f th e head,
The second stro ke hits th e rim and the
Fig, 28, Rep ilfiqfl e stroke I
Fig. 29. Repilfiqlfe stro /w 2
The third is a lso a rim sho t, but cl oser to
The fourt h is a left-hand st ro ke w ith the
rhe rim .
bare hand , ncar the edge or closer to rhe
hea d simulta neously (rim sho t).
ce llte r, depending 0 11 the sO llnd yo u want
to get.
Fig. 30 . Repilfiqlfe stroke 3
Fig. 3 1. Repilliqlle st roke 4
When solo in g, t he right-h a nd strokes includ e a tight "buzz" ro ll and stick-o nl y rim shots,
21
Brazilian Rhythms for Drum Set and Percussion
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Example 1.
This includes a short call-in phrase followed by basic repinique feel on the batucada groove.
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=rim shot closer to center of head =rim shot closer to the rim
(response surdo), also called contra surdo or surdo de segunda, is originally from Brazil. (See fig. 1.) It is a double-headed metal drum. Measurements include 20" x 14" and 20" x 22". As the name suggests, the surdo de resposta answers, or plays against, the surdo de marca~ao on beat 1 of the measure. This instrument plays against the natural accent (strong beat) of the samba, which is beat 2. Because of this, some escolas de samba, such as Mangueira in Rio, do not use them in their bateria.
SURDO DE RESPOSTA
The surdo de resposta is tuned a perfect fourth from the surdos and accents beat 1 of the measure. It is played in the same way as the surdo. The right hand plays a surdo mallet while the bare left hand mutes the head or sometimes plays open tones. You can also play with the right hand on the head while the left hand mutes the sound. The strokes must be as constant and clear as the surdo de marca~ao .
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Hand Percussion Rhylhms, Inslrumenls, and Techniques
(mi d surdo) is a lso ca lled surdo de tereeira a nd eentrador. (Sec fi g. 1, page 5.)
SURDO DE CORTE
It is rh e small est and most hi gh pitched of rhe three sllrci os. fvlcaslIrcmcnrs include 13 X 14" and 18 x 20", Corte mea ns ClIt , and this is th e fun ction of thi s s urcl o : to div id e the st ro nges t beat 11
11
into syncopated rh yt hmi c va ri atio ns . The slIrc\o de co rte prov id es the sa me accentin g as th e
su rdo on beat 2, bu t add s so me sy ncopa ted fills. Its rhythm adds swin g to t he ba tu cada .
15
Exa mple 1. Syncopated notes on top of the surdo de ma rca,ao L
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(whi stl e) is a n in strument of t he ind ige no us people. lvlade of wood , it has two ho les o n
its sid e and a third one th at the p layer blows into. Th e latera l ho les a re cove red and uncovered by th e playe r's finge rs to p rod uce different pitches. Thi s inst rum ent is so metimes used to ptovide constant rhythm , but irs main fu nction is to clIe the beginnin g, rhythm brea ks (/Jaradinhas), and passages of rhe batu cacla . T his in strum ent is lIsed by th e mcstrc cia barcri a and his ass istants. Th e apito ca n ptoduce staccato, lo ng, lo ud , o r soft notes. It adds a spec ia l ti mbre of open (long a nd full ) a nd closed (ml1ted ) tones.
Fig. 32. Playing the apito
1& II
Ex ample 1.
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Brazilian Rhythms lor Drum Set and Percussion
FRIGIDEIRA
(fr ying pa n) is a sma ll fry in g pa n held by the left ha nd a nd pl ayed by the right h a nd
w ith a meta l stick in three movements. Th ese movements are s imil a r to the virada of the ta m bor illl, however, YO ll ca n crea te different tones by strik ing differe nt places o n the meta l plate.
Fig. 33a-c. Playing the frigideira .
11
Exam pie 1.
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Hand Percussion Rhythms, Instruments, and Techniques
BATUCADA RIFFS BREQUES (BREAK PAlTERNS) Some standard riffs called breques are very important for the development of the batucada. The breques are preceded by phrases (call-ins), usually short. They set the end of a section to the beginning of a new one in the middle of the batucada or samba enredo. Breques also happen at the ending of the batucada groove. The repinique follows the apito and cues the other instruments into and out of the break. The mestre da bateria plays the apito. Breques also come before the stop-time call-and-answer sections called paradinhas . .>?\
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Example 1.
Apito
back to groove
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Repinique Repeat 3 times
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25
Brazilian Rhythms for Drum Set and Percussion
PARADmNHAS (RHYTHM BREAKS) Paradinhas are rhythmic patterns of usually eight or more measures that help to embellish the
arrangement. The paradinhas are usually preceded by a breque. They also give the batucada players some rest so they feel renewed for the next groove section, which comes usually with more energy. Many paradinhas are composed every year in the escolas. The paradinhas may start the batucada groove, or may be placed in the middle to accentuate a melodic passage. It's important to the ensemble not to lose the beat when performing the paradinhas. The example on the CD is a very traditional variation.
PARADINHAS Repinique Repeat 3 times
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Hand Percussion Rhythms, Instruments, and Techniques
BATUCADA BASIC FIGURES Listen to CD track 20 to hear what the batucada ensemble sounds like. This is what is played when all instruments are playing together in the batucada:
Repinique
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Brazilian Rhythms lor Orum Set and Percussion
OTHERINSTRUMENTSOFTHE BRAZILIAN PERCUSSION FAMILY AFOXE o r AFUXE is Illade out of a go urd or, mos t often, a
COC Ollu t.
Sizes and shapes va r y. T he
la rgest ones a rc ca ll ed cabayas. T he hea d (rou nd part of the go urd ) has p las tic bead s wove n
aro und it with ny lon str ing o r cho rd . The afoxe is used in many sty les o f Brazilian Illusic,
including ma racat ll , afoxc, and bossa nova. The afoxcs made today have 'vvooden handles with wood o r me ta l head s a nd beads placed aro und them . Th e meta l o nes produce brighter to nes th a n those mad e fto m go u rd s. T he inst rum ent is played by p ressin g th e bead s agai nst the ha rd sur face head wit h the pa lm of
the left hand, while perfo rming tw ists with the right wrist, whi ch ho lds the hand le. Accents are p rod uced by using shar per w rist turns and press in g ha rder w it h rhe lefr ha nd.
Fig. 35 . Playing the m eta l afoxe
Fig. 34. Playing the go urd-style afoxe
T he a foxe ma y a lso be p layed by srr iking the in strum ent aga in st the left hand .
Fig. 36. Another way of playing th e afoxe Severa l afoxe acce nts ca n be produced. T he fo ll ow ing is a co mm on o ne. I a dd ed tria ngul o to t he C D track to enhan ce the fee l.
21
Exa mple 1. >
II 28
2 •~
>
J J J
JJ
>
•---1
>
>
J IJ J • J
>
•---1
JJ
•-l
:II
Hand Percussion Rhythms, Instruments, and Techniques
ATABAQUE is a cO lllm on name given to Afro -Brazili an si ngle-head ed drum , similar to th e conga
drum. They come in many shapes and sizes, includin g cylindrica l, funn eled, and barreled. The wo rd comes from the Pe rsia n tablak. Th e a ta bag ue dtuills were probably introdu ced in Brazil by
both the Bantu and Sudan ese slaves. 111 Bahia there arc several types of Yoruba arabaqu cs, includin g th e balas, which are th e smal l ones, and th e ilus and bala-colos , the large r Olles. Other names includ e ron co, engoma, ingOlTlba, /Jerel1ga, and mallgongue.
Th ese drum s arc lI sed in th e C:1l1ciomble, which is an Afro-Brazili an reli gio n, and its variations, such as Macumba and afoxe. They are played to please th e Orixas-th e god s o f the Ca ndombl e, A set of three drum s is used: th e rU n! (largest and lowes t pitched), the rUIJI/Ji (mid-sized and m id-pitched ), and the Ie (s ma ll est and hi ghest pitched) .
Fig. 37. l i'aditional atabaques, from left to right : fum, rllJll/Ji, Ie These drums ca n be played w ith only th e hand s, wirh one srick and one hand , or w irh rwo stick s.
Here is a set of rh ythm s fo r th e atabag ll e in macl/leit style. Th e pattern s fo r each of the three inst rum ents are played togeth e r on the C D track .
22
Example 1. Le
0
--.--! •~ Rumpi
0
0
+
+
+
+
J
~
JJ J
+
+
+
+
0
I
J
=1 •
+
0
3Q J J J y ft y I J Rum
II
0
i
~_.
0
0
JJ
0
J
+
+
0
•~
0
•~ •--j +
+ • J
+
+
0
J 0
JJ 0
J J
0
-I
•
:II 0
J:II
0
J :II 29
Brazilian Rhythms lOt Drum Set and Percussion
is the main instrument fo r the capoeira, whi ch was o ri gi na ll y a dance ll sed by the slaves in Brazil as a mar t ia l a rt for self-protection . Origi na lly fro m Africa, the beri11lbau
BERIMBAU DE BARRIGA
is a stringed inst rument that has a single wire attached
[0
the end s of a lo ng wooden arc.
There are fou r ki nds of beri11lbnu in Brazil: berilllbnu de bocn, berilllbati de lIIetal, berimbau de
bacia, a nd berimbau de barriga (pictured below). In Bahia the berimba u is also ca lled glmgn a nd viola. The cnpoeirn dance maste rs say that gun ga is the Afr ica n na me and be rimbau is the Po rtu guese nam e. T he berimbau set is made up of the follow in g pieces :
eaxix;: baskcr·sha ped shaker
Arame: a w ire stretched over a wood bow
Area de madeira: wood kept in for m
3 11
by
arc of fl exible the ara mc
A woode n st ick Cava /e le: co rd that acts as a bridge
Nloeda: a co in lI sed to tOll ch the w ire and change rhe soun d. A 5m311 stone m ay a lso be used.
Cabafa: a CQCQ IlLH gourd tha t actS 35 :1 resonator box. It is atta ched ro the arc b}' the cava/ele (n cord) . Th is cord acts like 3 brid ge. T his is where rh e player hold s rhe insrrumenr, using rhe lirrl e finger of rhe left h:md. Change rhe wning by placing the bridge and cabas;a up and dow n along rh e: wire.
Fig. 38. Berimball de barriga close-up
..'
The berimbau is held by w ith t he left hand a t the wood arc, w ith the sma ll fin ger holdin g the bri dge. Th e ri ght hand
••
•
p lays the wi re using a thin wooden stick. It a lso ho lds the caxixi, a basket shaker. The left hand holds th e moed a between the thumb a nd the index finge r, to uching the w ire
•
w ith it to chan ge the pitch. Pl ay ing the w ire without touching it w ith the co in o r Stone produces lower [ones. T he player moves the o pening of th e ca b a~a onto a nd off of hi s abd o men to cha nge th e so und.
Fig. 39. Holdillg the berimball de barriga
30
Hand Percussion Rhythms. Inslruments. and Techniques
The bc rimba u produces two basic pitches. Th e lowe r tone is played by h itt in g th e o pen w ire wit h
the sti ck, a nd the hi ghe r o ne is obta in ed by tOllchi ng rhe wire w ith the co in. YOli may eith e r touch the wire wit h t he co in wh ile hi tt in g the wire wit h the stick, o r ju st to uch the wire with rhe coi n after hitting it w it h th e st ick. A buzzed snare- like so und ca n be o btai ned by loosely touching the ara lllc wi th the coi n. In the capoe ira, th e be rim bau has seve ral rhythmic melodi c parre rn s call ed Jaques. These to ques have nam es, inclu d in g: Sao Bel1to G r;1 lld e, Sao Bento Peq ueno, Ango la, Ango linha , Sa nta JVi a ri a, Ave lvla ria , Amazo nas, Bangucla, Sa mba cia Capoei ra, J ogo de O CI1[1'O, Aviso, C::lVa iar ia, a nd luna .
23 Caxixi Berimbau
Example 1. Toq ue Angola. Tempo is o pen.
II
!F
II. II
< ,,
I)
8
j ,i J J
I 8I
' I)
IF
,
8
I 8I
2 11 .
I 8
I 8
:II j
'0
(I)
IF ~
•
I 8
I 8
8
I :II J
I 8I
iJ
•I
J
IJ
~
I
8q
II
Example 2.
Caxix i
Berimbau
II! ,,0
1,·0
CABA~A is " big afoxe, a lso ca ll ed piallo
1,,0
J
j
n
: 11
de CIlia. Like the afoxe, it is of Afri ca n o ri gin . T he
instrum ent ha s tin y sea s hell s o r p last ic beads attached to a COtton cord pla ced aro und a go urd (ca ba ~a ) . The ca bap ca n be mo un ted on a woode n st ick, o r somet im es t he ha ndle is the end o f
the go urd itself. It ca n be p layed like the afoxe, o r by using o nl y o ne ha nd twisting th e wrist a nd
lerring the ner run a ro un d the cabas:a .
Fig. 40. Cabara
31
Brazilian Rhylhms lor Orum Set and Percussion
Exam pie 1. >
II
24
>
IJ
>
J J
•I
•
i
J J
open
J1 J
Example 2.
II (AIXETA
> -1
>
>
I J II J • J • J J ---1
>
>
~
>
J J J • J J • :II -1
-j
•
is the sa me as the wooel block o r templ e bl ock. It is a so lid wooden block with a n
opening in o ne of its sid es to prov ide the resona nce . It ca n be played w ith regul ar drum sti cks o r ma llets. Its fun ctio n is to prov ide a consta nt rh ythm throughou t the piece. T he rh ythm may have a sing le to ne or a melodi c pattern llsing two o r more blocks. Ca ixetas a rc llsed to prov ide different colors in many Brazi li an rh ythms, sometim es replacing rhe r3mborim.
Fig. 41 . Caixeta
Fig. 42 . M any types of caixetas
The ca ixeta ma y play sa mba patterns (usuall y p layed by the ta mbo rim ). In these exa mpl es, a ga nz;' is added o n the CD t rac k to enh a nce the feel.
25
Example 1.
•
25
E
J
f'
J
J
•
[
:II
Exam pie 2.
]
3F! " J f'
l{
f'
"
•
i
I
J
J
•i
•
I
:II
Example 3.
II
IJ
J
J
J J IJ j j
J
:II
It a lso ca n add rh ythmi c va ri ati o ns and color to the baiao. Two ca ixcr3s ca n a lso replace agogo patterns.
32
Hand Percussion Rhythms, Instruments, and Techniques
is a fo lkl or ic instr u me n t co ns isting o f a sma ll , basket-s haped sha ke r. It conta ins e ithe r
CAXIXI
seed s, sm a ll roc ks, or beads . The pl aye r gras ps the ha nd les o n t he ir to ps, usi ng s imilar m ovem en ts as t he ga n z ~ls a nd regul ar sha ker. They are a lso k now n a s gongo, IUllcaxix i , a nd macaxI)." /.
Th e instrum en t p rov ides rh ythm and colo r
[0
ma n y Braz il ia n sty les, in cludin g capoeira and
Ca ncio l11 b le . In rhe sta te of A lagals, th e re is a bi gcaxix i k n ow n as peneira. It is p a rt o f rhe coco
p e rcllssio n c n sc l11 bl e.
Fig, 43. Caxixi One o r twO sm a ll cax ix is a rc held w it h the ri g ht hand, a lo ng w it h rhe \-voo d en s ti ck, w hen pl ay ing rh e bc rimb a u. Yo u can a lso lise o ne or mo re in eac h hand to c rea te d iffe rent rh ythmi c pa tte rn s.
26
Example 1.
RH LH
26
II
£J
~ •
3 J d J IJ J J d •~ J d J :II
J
--j
•
Example 2. Faster tempo
RH
LH
#l 3 J J
J J • d Id J
CURIMBO is t he na me of t he b ig
-i
-j
•
---1 I •
•
-j
•
a :II
d r ulll L1 sed in t he carimb6, a sty le of mll sic and da nce fro m t he
sta te of Pan! , It is m ad e fro m th e ho ll ow stem of a t ree a nd has a d r um head in o ne of th e sid es. It is positio ned o n th e g ro un d, a nd us ua ll y t wO pl aye rs pl ay at t he sa m e t im e w hil e sirrin g o n t he to p o f th e d rum . O ne pl aye r pl ays o n th e hea d w ith ha nds, a nd th e o th e r pl ays o n t he shell w ith sti cks.
27
Example 1. First pl aye r:
R
II
L
L
i; J
R
j i
L
•
L
I
L
R
L
•F
J
R
L
R
•I
J
R
L
I
J
L
Second player, pl ay ing sti c ks 0 11 she ll:
R
>
II
L
R
L
>
R
L
i J J J J J J
R
L
Ii
J IJ
>
>
L
R
L
J
•i
J J j :II
>
R
>
L
33
Brazilian Rhylhms lor Drum Sel and Percussion
MARACA is a sha ker m ade of a sma ll go urd (in Braz il, us uall y dr y coco nut) fill ed w ith seed s o r
s m a ll sto nes. T he head is m o unted o n a woode n ha ndl e. Ma racas a rc a lso kn own as ehoea'ho de
madeira (wooden shakers), and arc lI suall y played in p ~lirs . Ano ther va ri at ion is th e maraca, which is a sacred Indian in strulllent llsed in dances and ch:1nring. The ma raca is Ll sed in th e C3 1l-
cl omble and 11 l11ba nda
Illll sic.
Fig. 44. Maraca
28
Ex amp le 1. R
3Q J
R
n
L
R
R
L
J
•i • I
I
R
R
L
R
R
J
J
•I
J
J J
L
TIMBA a nd TAMBORA a rc funn el-sha ped drums with a single drum head o n th e la rges t sid e. The
ram bo ra is a Latin America n instrum ent L1 sed al so in Braz ili an mll sic . It can be pl aced un der the
arm o r J. rrachccl by a strap. T he Braz il ia n ve rsio n is ca lled timba ane! timbau, ane! is a bit bi gger. T he tim ba is p laced ho ri zo nta ll y on th e Boo r a nd the p laye r sits o n to p of the in str um ent while pl ay ing it. The left hand pl ay s t he dr um head, a nd th e ri g ht ha nd plays btushes o n th e shell (th e sid e o f th e drum ).
Fig. 45. Playing the til11ba IUilh brllshes, right hand
Fig. 46. !'Iayil1g the limba, left hal1d
In both examp les, th e t ight hand p lays the brushes o n th e shell of th e d rum.
34
Hand Percussion Rhythms, tnstruments, and Techniques
29
Exa mp le 1. Sa mba fe el, wit h tamb orim to en ha nce the feel
lUI L II
29
II
i 3J J
33J J
d
I3 J J
33
•~
J
--1
•
:II
Exa mple 2. Ba iao feel, with agogo to enh ance the fee l
'"
Lli
II
TRIANGULO
--i • 3 i
-i
•
J
•---1
•---1
J I3 J J
Jn
-I •
:II
(tria ng le) was fi rst brou ght to Braz il by t he Po rtu guese , It is m ade of stee l o r iron
a nd is ll sed in m a n y fo rm s of fo lk lo ri c rh ythm s, slIch as th e bai ao, coco, xaxa do, Koris, an d Foli a de Reis. Th e tri a ng le is no r cO lllm on in th e sa mba st yles. It ca n be played usin g a m eta l st ick, a nd is eithe r hand-held o r m o unted. T he left-hand finge rs
open and close to prod uce open and closed tones.
Fig. 47, Triallgulo closed tone- left hand
3D
Fig. 48 . Triangllio open tone
Exa mple 1.
+
II
0
0
+
+
0
0
i J J J J J J J
+
J
+
0
0
+
+
IJ J J J J
0
0
--1
--i
• •
+
•-1
:II
Exa m ple 2,
+
II
i
•~
0
J
0
+
J J
0
-i
•
0
-j
•
+
•~
0
J
0
+
J J
0
0
J
J
:II
35
Brazilian Rhythms lor Orum Set 2nd Percussion
XEQUERE or XAQUERE
is simil a r to the afoxe, but the go urd has a smoo the r sur fa ce . The sizes
va ry; medium to large go urds o r coconuts may be used. Th ey have bead s placed on a cord that is wrapped a round the body o f the instrum ent.
Xeque res are played by ho lding th e go urd w ith the left ha nd , usin g the ri ght ha nd to pull the co rd of bea ds aga in st th e go urd , a nd using the hee l of th e ri ght hand striking it simultaneo usly. You ca n a lso play it by shak in g and ra tt lin g, instea d of ho lding the beads. They a re not usuall y played by ru bbing the beads against the head, like playin g the afoxe, a lthOll gh it is possible to do.
Fig. 49. Xequere To play the xeq uere, t he ri ghr hand pulls rh e strings and plays beads against the gou rd ,
and a lso srri kes rhe go urd wirh rh e heel o f the pa lm.
Fig. 50. Stl"ikil1g the go urd with the right hand pahn
31
Example 1. Xequerc, w ith agogo to enhance the feel
Bearls ~ Palm Heel
..,. 3
j
0
0
i •
J
~
•
3
0
0
J
:II
•i
Exa mple 2.
Bearls Palm Heel
-..=-t J.
~
0
•
0
F
J
0
~
j I -.
j
0
0
0
.." J ill
ZABUMBA is a large wooden drulll (12" X 20") of Portu guese origin. It is no r as deep as the slJrcio,
and has drum heads o n the tOP and bottom. Originall y the head s were tun ed by t ighten ing the strin gs th at attached bo th rim s. Now they ha ve metal mechani sm s, as seen o n ma ny conte mporary drum s. T he za blll11bas a rc lI sed in northea stern rh ythm s slich as the ba iao, ma raC3 tl1 ,
36
and xo [c.
Hand Percussion Rhythms, tnstruments, and Techniques
Th e zablll11ba can be played in seve ral wa ys : w irh a slll'do st ick in the ri g ht ha nd while th e left hand plays th e bottom head wit h a mid-size bamboo stick (ca ll ed bawlhau)
r 1._-._;.:;;-- ..........
Fig. 5 1. Playillg the zabumba, right halld
Fig. 52. Playillg the zab ulllba, left halld
us ing a regu lar fe lt-ripped surdo stick (maceta ) in the right ha nd a nd a wooden s urd o sri ck in rhe lefr hand, bor h playin g on the top hea d ju sr as rh e s u rd o, w it h th e left hand muffing rh e top head us uall y o n rhe m a ra ca [LJ
Fig. 53. Th e alfaia, a low-pitched drum used il1 th e m aracat. lI , similar to surdo and zablf mba To p lay rh e fo llo\V ing zabumba rh ythm , t he ri g hr hand plays th e surd o sti ck (maceta ) and th e left hand pl ays the baca lhau,
32
Exa mp le 1.
+
UI
IHI
+
0
II ! j
8
I
•I
8
'1
~
I •I
a
0
t\
.,
t' :II
I
Example 2.
+ Lli lUi
--.q j
0
8
I
J
0
8
I
J
0
8
I
+
•I I •I
0
89
0
8
I
J
0
8
I
•
I :II
37
SECTION 2
SAMBA STYLES ON DRUM SET AND PERCUSSION
SAMBA Samba is the cornerstone of most Brazilian rhythms and songstyles. The word "samba" came from the West African word "semba," which was brought to Brazil by the African slaves between the seventeenth and nineteenth centuries. It meant "to pray," or to call spirits of ancestors and African gods using drumming. The word also meant "a crying murmur." The word "samba" in Brazil has several other meanings. It is an African-originated circle dance that includes singing, claps, and belly bumping. It is also a name of a sacred dancer, the religious ceremony of the Batuque, and the name of a binary meter music style usually of verse and chorus form. The dance is performed throughout Brazil. It has different dance steps and theatrical scenes and costumes, dancers performing solos, and chanted song, depending on the region of the country. Listen to track 79 to hear samba. You can also use this track as a play-along for all the samba styles in this book. Brazilian samba was born in Bahia, a state in the northeast region of Brazil. It began to be a popular style of music at the beginning of the twentieth century. The first samba recording was made in 1917 by Ernesto dos Santos "Donga" singing his "Pelo Telefone" (by telephone). The first recording using percussion (surdo, tamborim, pandeiro, and others) was made in 1929, when the group Bando de Tanganis recorded their first album. At that time, the {undo de quintal (backyard parties) were already popular. The baianas, women from the state of Bahia who are affectionately called tias (aunts), promoted these gatherings with live music and food. These {undo de quintal parties took place mainly in Bahia, Rio de Janeiro, and Sao Paulo, blending different musical styles such as the maxixe, batuque, and jongo. This music evolved over many generations to become what samba is today. Some of the pioneer samba composers and singers were Alfredo da Rocha Viana Filho "Pixinguinha," Joao Guedes "Joao da Baiana," Ernesto dos Santos "Donga," Ataulfo Alves, Henrique F. Domingues ''Almirante,'' Ari Barroso, Noel Rosa, Jose Barbosa da Silva "Sinho," and Moreira da Silva.
38
Samba is the most well-known style of Brazilian music in the world. Samba types such as pagode, samba enredo (from the escolas de samba), gafieira, samba traditional, and partido alto are among the most popular in Brazil. Other variations include samba de breque, samba can~ao, Afro-samba, sambalan~o, samba de Carnaval, samba exalta~ao, and samba de quadra (batucada).
Samba Styles on Drum Set and Percussion
THE DRUM SET: TIPS FOR PLAYING BRAZILIAN DRUM SET STYLES The way of playing the drum set and the role of the instrument in Brazilian music evolved since 1940s. The drum set was not always a part of the rhythm section, and was quite often substituted by ganzas, a zabumba, or a pandeiro player. Today, drum set and percussion are essential parts of the Brazilian rhythm section. The drum set is used in most styles. The type of percussion used in combination with the drum set will vary from style to style. The drummer needs to interact rhythmically with the percussion session and avoid overplaying. Adding more percussion will probably mean having less drum set. For example, if you are playing samba with other percussionists, you will only need to play with two hands in the hi-hat and the bass drum. Your level of control and technique on the drum set and your familiarity with Brazilian music will determine how well you play Brazilian rhythms. When playing Brazilian drum set, note that different dynamics, accents, ghost notes, and sounds are used. Different sounds may be created to simulate percussion instruments, including playing the bell and body of the hi-hat to get a sound similar to the triangulo (triangle) and the rims of the tom-toms to get a caixeta (wood block) sound. You may also add a Brazilian tamborim to the set for fast samba and batucada patterns. Use different strokes on the snare drum, as well. Opt for sounds near the edge (rim), as opposed to playing in the dead center of the snare head. Including the toms and floor tom in grooves is also a characteristic of Brazilian drum set playing. They replace the sounds of surdos, zabumbas, and atabaques. Play the drum set examples on hi-hat and ride cymbal (with the hi-hat foot playing the "and" ["+"] of the beat.) The way of executing the beat may vary from style to style, but there is a very specific way to articulate the notes. This is very important to getting the right Brazilian feel. Listening first to Brazilian music will help you to identify the note articulations and phrases related to the different songstyles. You need to develop the right articulation when playing ride cymbal patterns (see basic samba ride patterns on page 54), combined with snare drum accents to promote the forward-moving feel that Brazilian rhythms have. Depending on the style, listen to different dynamics used and the way phrases and fills are played. Identify the common fill phrases and accents that are characteristic of each style. Note that the bass drum on the bossa nova is not played as you would play it on a funk or fast samba. Remember: Beat 2 is the strongest beat of the 2/4 measure in Brazilian music. Create your groove based on the songstyle and create the accents based on the melody. Play the basic pattern of the rhythm on bass drum first, then find a rhythmic pattern that best fits the melody using different accent dynamics. You need to be disciplined about how many notes you play in a particular style or situation. It is essential to have endurance in playing steady sixteenth notes on the hi-hat and ride cymbals, and to have control over bass drum ostinato and accents. Let's start again with the escola de samba (batucada).
39
Brazilian Rhythms to! DfUm Set and Percussion
ESCOLA DE SAMBA (BATUCADA) ON DRUM SET W hen playing batu eada on the drum set, yo u tep laee the key batueada in st ruments li ke s urdo d e l11arca ~ao) s urcio d e res post3, ga nza, ca ix3, [amborilll, and rcp iniquc w ith drum set instrume nts.
Fo ll owing a re rhe drum set instrum ents that substitute fo r t he ba tucada in st rume nts:
Bass drum
surd o de matca~1io a nd surdo de tes posta
Floo r tom
surdo de marca~1io
Sma ll to m
smd o de resposta, or when tuned hi gh , the rep inique
Midd le tom
surdo de cotte, o r surd o de tes posta when t he s mall tom is used as rep llll q ue
Snate drum
caixalra ro l (a piccolo snare drum ), repinique, ta mborim
Hi-hat
ganza, choca lh o
Thi s is the basic groove w ith sna re dr um play ing the subd ivisio ns. T he hi-h at w ith foot accents the H+ ", a nd the fl oo r
[0111
acce nts beat 2, which is rh e stro nges t beat. T he second space o n the
staff is used for the fl oor to Ill. Th e first space below the staff is marked with an "x" for th e hi-hat w ith foor.
49
Example 1.
R
, R
L
A
so Fr
IlD
HII \\'/foot
L
A
J
--u='t 3
3
R
L
>
A
J
•-i
, R
L
R
A
-i
•
13
L
R
,
L
R
L
R
A
>
A
A
3
J
J
~ 3 :II
R
L
L
R
J
j 3 :II
R
L
A
•--i
L
Now, we add the to ms for colo ra ti o n.
A3
Example 2.
R l Mrt
6
II
HI) H!! wffool
R
L
J
I0
L
R
j ~
>
I
R
L
~
J
i
L
J
3 Ia
R
L
>
j
a
J
Th is is a va ri atio n between Aoar to m ( m a rca~iio) and s ma ll tom (res!Josta ). It's a 2-measure
phrase w ith a 1-measure pickup.
43
Example 3 .
R
L
R
L
R
L
> HT
SD
IJI) HH W{fOO I
40
II
I
J d J = ~ i
J
R
L
R L R L R L >
J Id fd
,d R
L
J j
R
>
L
R
L
R
L
>
•I
0 JJ
J
, R
L
d:11
Samba Styles on Drum Set and Percussion
Here is another variation between floor tom (marca~ao) and small tom (resposta). Example 4.
R
>
HT
so FT
BO
HH w/foot
II
L
I0 ~
R
L
R
j 3J
L
~
R
L
0 3
R
>
L
R
d~ j
L
R
R
>
>
3J
L
R >
~ 0 ~ :II
SAMBA CAN~AO In samba canfiio, the lyrics are very romantic and the tempo is slow, similar to the bolero. When playing samba can~ao, it is helpful to keep in mind that the melody has more emphasis than the syncopated rhythm. The style arose in the late 1920s and was popular by the 1940s. In the 1950s, new instrumentation was introduced to the samba can~ao style. The use of the violins, cellos, and oboes provided a bigger, fuller sound, and the rhythm made the music sound more like a ballad than the actual samba. The lyrics became more complex, the tempo slower, and the harmony closer to the "cool jazz" style. Because of these changes, the new styles were labeled dor-de-cotovelo, then fossa, which means, literally, one's suffering because of love. This period is known as pre-bossa nova. Composers include Haroldo Barbosa, Luis Reis, Ary Barroso, Paulo Soledade, Garoto, Dolores Duran, Radames Gnatalli, Braguinha, Luis Bonfa, Dick Farney, Orlando Silveira, Cauby Peixoto, jamelao, and many others, including Tom jobim at the beginning of his career. Arrangers include Renato Oliveira, Severino Araujo, Radames Gnatalli, Gaya, and Tom jobim. The samba can~ao style is still used by many contemporary Brazilian composers, including Caetano Veloso, Maria Betania, and Milton Nascimento.
PERCUSSION ENSEMBLE The traditional percussion instrumentation is pandeiro, ganza, timba and/or surdo, and tamborim. The timba plays the role of the surdo. At the botequins (Brazilian pubs), where this music is played often, it is usual to add both an empty beer bottle played with a ring or utensil, and a box of matches played using the fingers. The traditional harmonic instruments are acoustic guitars (including the 12-string), cavaquinho, and bass.
41
Brazilian Rhythms 10r Orum Set and Percussion
SAMBA CAN~Ao FOR PERCUSSION ENSEMBLE
'33~,
'~
Ganza
.. I J
Snare Drum RH LH
II
I J
>
>
>
>
J J J J J J J IJ J J J J J J J :II >
i
J
>
i
J
>
i
J
>
>
i IJ i
J
>
i
J
>
i
•~
>
i
:II
RH wlbrushes, LH wlbrushes or sticks
Tamborim
II
I ~
~
~
iJ.
~
~
I~
>
~
.8
>
~
:II
pandeir~O~~~+~~3+~~+~~+l===dO~~+~~+~~+l===~+~~+~~+~~~+b=~O~~+~~~+~~+i=~
.. I
J J J J J J J J IJ J J J J J J J :11 +
iJ
+
x
i
0
J j
x
i
DRUM SET The drum set was not part of the traditional samba can9ao groups. A pandeiro player would hold the groove and playa syncopated rhythm. In the 1940s, the drum set started being used to obtain a fuller sound. The tempo of the rhythm is slow like the Cuban bolero, except that it does not follow any clave pattern. The bass drum and snare are played very softly, and the hi-hat should be a little bit more present to give the tone of pandeiro jingles. When you are playing with a pandeiro player, you have the option of using the right hand to play the "2" beat on the floor tom.
42
+
J :II
Samba Styles on Drum Set and Percussion
These examples are played on the snare drum with brushes. You may also use the stick with your left hand using a cross-stick pattern.
:I:.
\~{
Example 1.
J =50 > RH
so
LH BO
II
HH w/foot
.3
i
d
>
3
>
3
d
RH wlbrushes; LH wlbrushes
>
>
d j d i 3
>
>
>
33~
i 3 :II
Example 2 uses the tamborim phrase of the percussion ensemble. Example 2.
J =50 so so
RH LH
II
BO
HH w/foot
13
>
~
>
>
>
>
>
i 33 i 3d i d
d
>
j 3
>
~
i j :II
RH wlbrushes, LH wlbrushes
Play with sticks. The 32nd-note on the hi-hat embellishes the groove. Example 3.
HH
so
II
BO
13
~ ~
d
j 3d
~
3
d
~
d
j 3~
~
J d
j 3
J ~
d
j :II
The tom-tom adds a bolero feel to the groove.
'I~'
'~'!
HH HT
so
BO
II
Example 4.
Ij
~
3J
3
3
J ~
~
d
~
:II
43
Brazilian Rhythms for Drum Set and Percussion
BOSSA NOVA Bossa nova was the most important Brazilian musical event ever. It introduced Brazilian musical artistry to the rest of the world. *
Bossa nova and other styles of Brazilian popular music are enjoyed every weekend from north to south in the barzinhos (Brazilian pubs) and at the beaches in Brazil. The expression "bossa nova" literally means "a new way of doing something." Although the term is not used anymore, it was commonly used by the professional musicians in Brazil by the early 1940s. In the middle 1950s, groups of young musicians, most of whom played acoustic guitar, started to gather informally in their Rio apartments and houses to play music. These young musicians played songs by certain composers known as being "cool" musically. Some of these composers included Johnny Alf, LUIS Bonfa, Joao Donato, Dick Farney, Cauby Peixoto, Garoto, Tom Jobim, and Dolores Duran. That period of musical research, in combination with changes in the values of Brazilian middleclass society, was the foundation of the new movement that was about to be born. The urbanization of Rio, the creation of the first television network in 1950, changes in aesthetic values, influences of the postwar American way of life, and the glamour associated with increased prosperity, all contributed to the bossa nova in the late 1950s. The young composers also played music of their own. Two members of the group, Carlos Lira and Roberto Menescal, founded an acoustic guitar academy to promote the new compositional style. The music had an intimate character and chords similar to those used by some jazz musicians. However, instead of copying or avoiding the international music influence, bossa nova absorbed and transformed these influences to the Brazilian way in rhythm, song theme, and melody. In 1956, singer Sylvinha Telles recorded "Foi a Noite" by Tom Jobim and Newton Mendon~a. It was a historic recording. Neither the media nor the recording industry at the time could label the style; it wasn't traditional samba, samba can~ao, or any other known style. In 1958, the Brazilian composer Joao Gilberto, who had years earlier introduced a new acoustic guitar comping style while recording for the singer Elisete Cardoso, recorded his first solo album. The album included the songs "Chega de Saudade" (No More Blues) by Tom Jobim and Vinkios de Moraes, and his own composition "Bim-Bom." This record showed to a mass Brazilian audience a new way of playing acoustic guitar. It also inspired a new way to carry the samba feel on the ride cymbal and hi-hat. The combination of this new rhythm and the way Joao Gilberto used his voice became known as the "bossa nova way," and was adopted by many young musicians. These musicians then started performing the new music at local clubs, community theaters, and college festivals. After the success of both the first record and the 1959 LP, the members of the first amateur group (Carlos Lira, Roberto Menescal, Ronaldo Boscoli, the brothers Castro Alves) joined the *Samba and baiao had been introduced internationally earlier by Carmen Miranda and her band Bando da Lua in the 1940s, and later at the Cannes Film Festival in the soundtrack of the movie a Cangaceiro in 1953, with the tune "Delicado." "Delicado," a baiao, received special arrangements by Stan Kenton and Percy Faith.
44
Samba Styles on Drum Set and Percussion
professional singer/songwriters (Joao Gilberto, Tom Jobim, and Vinicius de Moraes). They performed in concerts and workshops of bossa nova known as the Festival do Samba Moderno (Festival of Modern Samba), Samba-Sessions, or Comando da Opera<;ao Bossa Nova (Bossa Nova Operation) at universities, music halls, and radio stations throughout Brazil. The first major bossa nova event in the United States was the 1962 Bossa Nova Festival at Carnegie Hall. This was also the first major contact between jazz musicians and the new Brazilian music.
PERCUSSION ENSEMBLE The most popular instrumentation is the timba or tambora, the ganza, and the acoustic guitar. The timba is usually played by rubbing one brush along the outside of the shell of the instrument with the right hand, while the left hand hits the drum head softly, accenting the surdo notes. Sometimes a surdo is played with a half-open sound on beat 2, just to provide a smooth accent. You can use your left hand to muffle the sound on the "and" ("+") of the beat, as you see on the percussion example below. You will also hear it on the CD. The tamborim is played with the fingers when accompanying the acoustic guitar, in order to provide a darker tone and lower volume.
BOSSA NOVA FOR PERCUSSION ENSEMBLE
Afoxe
II Tamboriml wood block
II
>
>
>
>
>
>
>
>
>
>
2 J J J J J J J J I J J J J J J J J :II I J.
J
.p
i
.p
i
f
J)
:II
Simile: Play with melody line.
Timba RH LH
0
II
i3
~
x
~
x
3
0
3
0
~
x
~
x
S 13
xi
~
x
3
0
3
~
x
~
x
~
x
:II
RH: Brushes LH: Bare hand on drum head
+
Surdo LH RH
II
2J
~
g
+
0
J J
+
iJ
~
g
+
0
J J
0
~
g
J :II
LH: Press the drum head in to mute the sound. RH: Surdo stick (maceta)
You may also change the tamborim pattern to accent the melody better. 45
Brazilian Rhythms lor Orum Set and Percussion
DRUM SET The bossa nova rhythm is derived from sam ba tradition al a nd sa mba ca n~1io. It also was influenced by jazz and classical mu sic. The first exam ple below represents rhe most well-known rhythmic pattern (not to be ca ll ed bossa nova "clave," beca use th e re is no clave in Braz ili an
music. ) H owever, this bas ic pa[[Crll , as we ll as the o ther bossa nova rh ythmi c patterns, come from sa mba. Yo u can hea r this pattern o n ma ny bossa nova songs . The ri ght ha nd pl ays the hi-
har (sticks or brushes) o r sna re drum (brushes) to keep time, a nd the left hand plays wirh the stick c rossed o n the snare drum (cross-stick) to suppo rt the melody of the song. Th e ba ss drum sraccato is th e sa me as the sa mba , except slower and so fter. When rh e ride cy mba l is used (sa mba nos pratos), the hi-hat with foot pedal is played o n the
" +", o r in so me eases o n th e dow nbeat,
to create a different colo r.
Here's how the drum set instrum ents co mpare with the percussion ensemble instruments:
Bass drum (softly) Hi-hat Snare drum (cross stick)
= = =
timba left ha nd and surdo ga nza [ambor illl
Examples 1-9 are rh ythmi c phrases that could be lIsed in many bossa 11 0va rulles, a nd are here
intended to d evelop coordination as well. When p laying bossa nova, yo u sho uld sli ghtl y cha nge rhe snare drum rhythms ro acco mmodare rhe melodr Whil e yo u sho uld not pl aya single pa ttern thro ugho ut rhe rune, yo u sho ul d th ink o f a single pattern as yo ur basic motif.
36 1111 Sl)
"0
3F't 3 36
lUI
50
II
"0
36 111 1 51)
liD
46
Exa mple 1.
II
J J
; jdJ
j
J
j
j
;j
; d
jj
~
J
~
~
3
=
jj
J
=
j :11 i
Exa mple 2.
!3
j
j
3
j
j
J
j
3 =
(;)
j :II
~
j :11
Example 3_
!3
J
~
d
3
J
Samba Styles on Drum Set and Percussion
Example 4.
HH
so BO
III~
J J
d
J d
j 3;
J
j :II
d
d d
j]
d
~
j :II
]
d
J d
j
3
;
~
j
j ]
d
~
3 I]
d
j
d
J d
j ~
3d
d J
; ] ~
3 3
Example 5.
HH
so BO
lIi~
~
; j
Example 6.
HH
so BO
1123
~
d
~
3
; j :II
Example 7.
HH
so BO
J d 1113 3
]
J d
3
;
J J
3 :II
Example 8.
HH
so BO
III~
J
~
j
J
d
j :II
d J
j :II
Example 9.
HH
so BO
J d III] 3
3
J J
3
d
d J 3
]
47
Brazilian Rhylhms lor Drum Sel and Percussion
BOSSA NOVA WITH BRUSHES The bossa nova style needs to sound quiet, so th e drumm er often will use b rushes. You may play exa mp le 8 a bove using a stick in yo ur left hand and a bru sh in yo ur right h a nd playin g e ith er o n the hi -hat o r o n the snare . Another way of Llsing bru shes is to play pancrn s with both brushes o n th e sna re . I lise the brush movement ill ustrated below,
Bossa Bru shes
Bossa Bru sh and Stick
Fig. 54a al1d b. Bossa l10va brush fJat/ems
31
Example 1.
Snare: Right brush, left bru sh so SD DD
II
IllllI'/fool
d
I3 d
Th is is th e s na re rhythm from exa mple 8 o n page 47, pl ayed w ith brushes.
31
Example 2.
Snare: Right brush, left stick H H or Ride
SD DD
HH "'lfuOl
48
II
I
~
J
d
j
3
j
3
j
d
Samba Styles on Drum Set and Percussion
BOSSA NOVA WITH BRUSH ES, H I-HAT VARIATIONS Here are two hi-hat and bass drum variations you can use when you play boss a nova with brushes. ,'"~
.J} ;
Example 1.
DO
HH w/foot
IIEJ
>
>
J J J IJ J ..~J J:11
In this example, use a brush and stick on the snare drum. <'~
.JJ'"::
Example 2.
DO
HH w/foot
.. I
;.J
....
~
..,:
Now try playing along with the bossa nova groove on CD track 78.
49
Brazilian Rhythms for Drum Set and Percussion
BOSSA NOVA (SLOW SAMBA) IN ODD METERS The odd meters are only an experiment in bossa nova, since the huge majority of bossa nova songs are felt in 2/4 and are intended to groove that way. More often, sambas are being written in odd time signatures, however. Learning and practicing the odd-meter examples in the bossa nova style is a good approach, because bossa nova is a slow samba. It will help you feel more comfortable later, when odd-meter sambas at faster tempos are introduced. Try these examples in odd meter. Start by setting your metronome to a slow tempo that feels comfortable to you. For the 3/4, set the metronome to J 60. For the 5/8 and for the 7/4, use J> or J 78. Then, work up the tempo as you get more comfortable.
=
=
11, ~
HH
so BO
II
Example 1.
13
55
31'.'
Example 2.
·31t.
Example 3.
~
5; j j ; 5 j j ; 5 5 ; ; ; j j j :11 3 3:111:3 3
HH
so BO
~
HH
so BO
50
.. 1
r f3 y fJ DBr r f3 y ij DBs9 1
:11
Samba Styles on Drum Set and Percussion
ACCENTING THE CYMBALS: SAMBA NOS PRATOS During the 1930s and 1940s, the drum set was used occasionally on samba, using snare drum and bass drum ostinatos. A pandeiro player was the main element of the rhythm section. The pandeiro was used to warm up the groove, providing high-frequency subdivisions with the sound of its jingles. It also provides the melody accents and the surdo note. The drum set was used to provide a soft background to the song, and the cymbals were used only for effect. During the 1950s, groups in Brazil started to expand their instrumentation. The electric acoustic guitars started to be in the scene, just before the electric guitars we know today. They were not well received at first. To the traditionalists, they did not sound good: they were too loud, too foreign, too electric, and too rock. The way of playing the samba on the drum set changed, as well. The drum set cymbals, ride, and hi-hat first started to be used as an important rhythmic source in the bossa nova period, around 1958. One of the great innovators was drummer Edison Machado. Machado started to accent the ride cymbal differently, using sixteenth-note grooves, and agogo and tamborim phrases on the bell (center) of the cymbals to incorporate the samba feel. This way of playing the drum set was essential to the samba jazz style, a style born with the bossa nova but richer in rhythm, harmony, and melody. Next we will explore ways to use the cymbal independence when playing the samba styles. We will learn also the two basic ride cymbal variations for faster sambas. When playing samba on the drum set, remember the surdo note on beat 2. So, when playing samba grooves, lightly accent the "2" on the bass drum. In the exercises below, play the accented notes on the ride cymbal or hi-hat. The left hand on the snare does not carry the rhythm by providing the backbeat, as it does in funk or rock 'n' roll grooves. Instead, it creates different rhythmic phrases to match the melody. Ideally, the accents should have different levels of intensity and volume . ,
. 3B . . ~.
~
., 'I
Example 1. >
HH
so BO HH w/foot
II
13
j
>
i
j j
; j :11
First, play this example using the hi-hat accents and bass drum parts without playing the snare drum line. Listening to Brazilian music may help you understand better the rhythmic articulation. Do not make the hi-hat notes sound too straight, with the same volume as you would in rock or many pop groove situations. Then, move to the ride cymbal using the same accents and adding the hi-hat with your foot on the "+" of each quarter-note beat. Experiment with other cymbal accents, using rhythmic and melodic ideas from the saxophone, piano, guitar, or the singer on recordings of Brazilian music. Use the ride bell to create different tones both sparingly and semi-quietly.
51
Brazilian Rhythms for Drum Set and Percussion
In example 2, accent the cymbal in places where the snare drum is not played, creating patterns of snare drum/ride cymbal conversation.
>
> HH
so
II
BO HH w/foot
23
J
J
;
~
:11
Next is a very well-known samba pattern played on the bell, at a fast tempo. The snare drum notes are played very softly, and they support and emphasize the ride-bell syncopation . ..
,~
19',
Example 3. >
Ride
so
II
BO
HH w/foot
I~
j
>
j
>
d
>
~
~
>
j~
>
Id
~
>
>
j ~
d
~
>
j
S :II
Examples 4, 5, and 6 are variations from the samba jazz style, and are usually used for medium to faster tempos. ~
.38:: ~ HH
so BO
II
HH w/foot
Example 4.
~ ~ ~
I~
~ ~
~
i
~
:II
j ~ I~ ~ ~ ~
~
i
~
:II
~
j ~
:II
i~
~
I~
~
i
Example 5.
HH
so BO
II
HH w/foot
I~
~
j ~ ~
~
Example 6.
Ride
so
BO HH w/foot
52
II
I~
~~
j ~
S
j
S
I~
~
]~
~
Samba Styles on Drum Set and Percussion
SAMBA DRUM SET PATrERNS FOR PLAYING WITH PERCUSSIONISTS When percussion instruments are present, the drum set should play fewer notes. The three examples below show how to get the basic feel that may be used when playing samba along with percussionists. When playing samba with many percussionists, the drum set player holds the percussion session together by keeping the tempo on only hi-hat and bass drum, and by using a few hits on the snare drum or crash cymbal. The drum set player may include these snare hits to accent, as shown on the next two examples. ~
,,0:
Example 1.
Sticking 1: R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
Sticking 2: R
L
R
L
R
L
L
R
L
R
L
R
L
R
R
L
0
HH BO HH w/foot
IIlj
~
i
j j
R
L
0
~
i d i
R
L
~
j
j j
~
i
j :II
R
R
R
L
J
i ! :II
Example 2. R
L
R
R
L
R
L
0
HH
so BO HH w/foot
II
Ij
J
i
j j
L 0
J
J
i d i j
j j
Example 3. 0
0
HH
so BO HH w/foot
II
I
j
J
i
j j
J
i
j I~
J
i
j j
g
i
i !:II
53
Brazilian Rhythms for Drum Set and Percussion
BASIC RIDE PAlTERNS TO PLAY FAST SAMBA The next examples show the two basic ride cymbal samba patterns used with all styles of samba. These patterns are usually used for medium to faster tempos, when playing four sixteenth notes per beat on hi-hat or ride cymbal becomes uncomfortable, or simply because of choice. ~
"
Ride
BO
,
II
HH w/foot
~
Ride
BO HH w/foot
II
Example 1.
Ia
J
j~
a
J
j ~ dJ j ~
a
J
j ~ :II
Example 2.
I
~
j ~ ~ j ~ I~
j ~ ~
j ~
Play each of the patterns above using the snare drum variations on the next page. The hi-hat/bass drum combination is the same. Accent beat 2 lightly on the bass drum in each measure.
54
:II
Samba Styles on Drum Set and Percussion
SAMBA SNARE PATTERNS ,.~
~
Track 42 includes snare drum pattern ex. 1 with basic ride cymbal ex. 1 and snare drum pattern ex. 2 with the basic ride cymbal ex. 2.
n.
Example 1.
.. I J.
Example 2.
.. I J-=J
, J-a If .b
Example 3.
.. I J-=J
,J-a I, ,n :II
.. ! n.
J.
Q I,
Example 5.
.. I J-=J
J.
Q
Example 6.
.. I
,;~~
Example 7.
.. !
,;~~
Example 4.
Example 8.
Example 9.
Example 10.
I7
n n. :II , Jf n :II
,J.
QJ
I, .;=-] J
"'"
Q )J Q
Q
"'"
.. I n.
.r-J :II
QJ "'"
,;~~
:II
.;=-]
.. I , J-a J .. I
I, J)
)J
Q 0/
...........
Q,;~~
n.
dJ J J Q
Q
,:J I.FJJ
n.
Q«
0/
:II :II
:II :II
n. :II
To get more ideas for left-hand patterns, listen to different styles of samba music, paying attention to 2- and 4-measure rhythmic phrases played by the other instruments, such as the saxophone, piano, or acoustic guitar. Listen to comping rhythms and solo rhythmic phrases, and try incorporating what you hear in your own playing.
55
Brazilian Rhythms tor Drum Set and Percussion
PARTI DO ALTO Samba Partido Alto, also known as samba do partido alto, was born in Bahia. Around 1900, it was brought to Rio. It was one of the main influences on the samba played at the escolas today. The partido alto was initially developed by experienced musicians who knew the secrets of the old samba dances. Because of these samba connoisseurs, the name "partido alto" was given to this style of samba. It means "high class" or "higher party." Initially, the music was characterized by having long verses, no chorus (or sometimes a short one), and for not consisting of dance when the participants are still singing. At the end of each verse, each one of the raiadores (dancers) moves into the samba circle to dance,. entering at the percussion players' site, which is somewhere along the line of the circle. Once the dancer has completed two complete turns, they cue the next dancer to come in after the singing of the next verse. Around the 1940s, the partido alto was reborn in the morros (slums) in Rio de Janeiro, where the escolas de samba were born. At this time, it was not necessarily performed in a samba circle. The soloist dancer did his steps while the others sang the chorus.
56
Samba Styles on Drum Set and Percussion
PER(USSmON
~NSIEMlBlrE
The basic instrumentation is the same as the batucada. Although the two pitches on the cuka staff below represent the usual high and low sound (a fifth or minor third apart), many tones can be taken out of the cuka. The ensemble also features a prato de lou~a, which is an actual porcelain meal plate typically used to play this rhythm. Here is how the partido alto percussion ensemble sounds:
.' -~
PART/ DO ALTO PERCUSS/ON ENSEMBLE
~
Caixa
II
>
>
0
0
>
>
>
>
I J J J J J J J J I J J J J J J J J :II
Pandeiro
> 0
II
>
IJ
Cufca
0
+
J +
II
IJ
J
II
IJ
J
,
>
+
+
0 I, J
J
,J
0
0
0 J
J
:II
+
0
0
J I,
))
0
0
0
0
J J J J :II
Agogo
Ganza
1
>
II
J J
J 11 J
J
J
>
>
>
~
x
~
x
:II
IJ J J J J J J J IJ J J J J J J J :II
Prato de Lou<;a
II
~
I
x
Surdo de Corte
+
II
I
j
Surdo
>
~
x
,
~
x
0
j
x
0
Q
It
It
J
0
0
j
J
:II :II
0
0
II
~
It
J
:II 57
Brazi\ian Rhythms 10r Drum Set and Percussion
DRUM SET You may play partido alto as shown in the percussion ensemble music, or invert the sequence of the pattern by playing the second measure first, as required to fit the melody. Play all the beats, alternating from cross-stick to regular snare hit and rim shot. We can create several bass drum and snare drum combinations when playing the partido alto on the drum set. Here is the basic partido alto feel for agogo: (optional pickup)
II
Agogo
£J
J
J lid
0
J
f
If
))
J :II
J
Here is the basic 2-measure pattern on hi-hat, snare drum, and bass drum. "~
.~; ,~
HH
so BO
II
Example 1.
Ij
~
~
~
J
j
~
j
J ~ I
~
j
j
Here is another possibility. The snare drum hit is moved one sixteenth note, from the "a" of beat 1 of the second measure.
j
j
~
:II
"+" to the
,,<-~
D\
~'I
HH
so BO
Example 2.
J J ~ II Ed
j j
j
~ IJ ~ J J
j
J
j
J
:II
PARTmDO ALTO INVERTED I call this pattern "inverted" because it starts on the second measure of the previous pattern. The partido alto rhythmic pattern has two measures in 214. Here is the inverted partido alto feel for agogo. A
II
58
£
,
>
))
J
J
iJ
>
J
f
J
J :II
Samba Styles on Drum Set and Percussion
This is the basic 2-measure pattern on hi-hat, snare drum, and bass drum. Try playing it with different melodic combinations between snare and toms, using the same accenting and feel. Example 1. >
HH
so
II
BO
J ~ I
~
~
j
~
j
~
d
~
>
d
~
J
j
~
j :II
This is a variation that I like to play. The snare drum is displaced by a sixteenth note, and an extra bass drum note is added . .-~
'4I;~'
i~'~
Example 2. >
HH
so
II
BO
J d i
~
d
j
~
j
~
d
~
~
>
d
j j
~
j :II
J
J
j :II
VARIATIONS Here are some melodic possibilities between toms, snare drum, and bass drum:
~ .
,~J
Example 1. >
HH HT
so
II
BO
..
I
J ~
~
HT
BO
~
~
~
d
~
d
~
j
Example 2. >
so
j
~
~(, '['7
HH
~
>
J J d II I
j j
J
j
>
J I~) J J ~)
> I
------
Example 3. >
HH
so BO
J d II I
~
j j
~
~
~
d
~
>
d
~
J
j
~
j :II
59
Brazilian Rhythms for Drum Set and Percussion
AFRO-SAMBA The term "Afro-samba" describes the samba style that has very strong African influences. It uses Afro-Brazilian religious themes. Because of this influence, it may be written and played in 2/4, 3/4, and 6/8 time. It usually has long pedal points (sustained notes) and harmony that does not have much modulation. Listen to "Canto de Ossanha" and "Labareda," both compositions from Baden Powell and Vinicius de Moraes. Also, "Canto de Xango" from these composers is a 6/8 example of Afro-samba.
PERCUSSION ENSEMBLE Afro-samba usually uses other percussion instruments, such as bongos, atabaques (congas), and bells to create exotic sound colors. As in any samba style, when playing with percussionists, the drum set player uses more hi-hat and bass-drum combinations to allow better interaction with the percussion. However, when playing without percussionists, you can use toms and ride cymbal bell patterns to create more intense grooves and replace the sounds of bells and atabaques.
AFRO-SAMBA PERCUSSION ENSEMBLE Agogo
J
J
Ganzel
>
>
Pandeiro
+
II
IJ
Tamborim TUNED LOW
II
~
~
~
2
3
4
>
ii J
Q
J J J
Rumpi
+
Surdo
II 60
0
>
Le
I JJ
>
J J J J
I
~
~
~
2
3
4
, .r=J >
J 0
i
~
J
J
J J J J J J +
IJ >
IJ
~
~
~
2
3
4
J
+
IJJ
0
~
~
~
~ :II
>
J
i
J J 0
i
0
2
>
J J J
J J J
0
,.
0
.. J
Q
:II
J 0
Q
:II
Samba Styles on Drum Set and Percussion
AFRO-SAMBA PERCUSSION IN 6/8
Agogo
JJ
J)
II
if-
~ if- ~:II
Afoxe
Pandeiro
0
IIS;.b
0
n
.0)
1 234 Caixa
nn l) nn)
.0 .0:11
123
1
o
0
1
0
1
0
o
0
1 234
1
R L R L
R R L R
>
>
L
R R
L
nonon n IJ J J J J J J J J J J J :II
>
>
>
>
>
>
>
1---_
>
>
6------J
>
>
' - - - - 6------'
Tamborim TUNED LOW
II S;.b;.b -
:: :: -
0
Le Rumpi
II
e
II
S~
Rum
0
j)
;.b -
n '-
~ if-== ~- I: ;.b-
- - == -
,, +
+
0
;.b 0
H H J J ~ ~ I;J5 H 0
I
I
0
IJ
n
;.b 0
~
I
~ II y ~ ,:
, , 0
0
J J ~ ~ :II +
I
:II
61
Brazilian Rhythms for Drum Set and Percussion
DRUM SET Following are some Afro-samba grooves using toms and ride cymbal bell patterns. The rhythm has the Batuque feel, a style that originated in both Angola and Congo in Africa. .\ \(f? Example 1. I.•
Ride HT MT
II
SO BO HH w/foot
J jE
I! j dE =J
]
I! i
]
j
9
)
:II
,-~
II
q
\
.
t,
~"
Ride
HT
so
BO
II
HH w/foot
Example 2.
11 j
9~J J jE dElE
j
J
J
J jE j(~11
Example 3.
Ride
HT
so
BO
HH w/foot
"2 J
~j
]i
J jE 3
]
~
I~
d j ]
J
~j
]
~
~
~ ] :II
:II
Example 4.
Ride
SO BO HH w/foot
62
II
19
~ ]
s
S
~
]
s
~
Samba Styles on Drum Set and Percussion
Example 5.
Ride HT
II
SO Ff
SO HHw/foot
IS
j
dE
S
j
9
d~ j
d 0
~
~ J :II
The final two examples also illustrate ways to play Afro-samba in 6/8 for drum set when there are no percussion instruments, or just a few percussion instruments. If there are percussion instruments in the group, you may use only hi-hat, bass drum, and a few hits on crashes and snare. ,"~
.,:
Example 6.
I~
Ride MT
so Ff so
HHw/foot
Example 7.
Ride MT
SO Ff
so
HH w/foot
63
Blazilian Rhylhms 101 GlUm Sel and Pelcussion
SAMBA CRUZADO Sa mba cruzado ("samba that c rosses") is a term lIsed by drumm ers to refer to a sty le of drulll set playing in wh ich the left arm crosses ovet the right. The groove sho uld be played sofrly o n the sna re drum with a traditiona l sa mba feel, and lo udl y on the toms to e mphas ize the surdos' cadence.
Fig. 55 . Smnha cruzado The right h a nd plays on the snare drum a nd th e left hand plays on the toms. This is how we can eas il y apply the rep inique right-ha nd phrases and technique to the snare drum, keepin g the left hand on a constant osrin ato rhythm between th e fl oor tom and the hi gh tom most of the time.
You ca n then use the mid-tom to crea te different tom-tom (stll·do) melodies.
Fig. 56. Sal1/ba cruzado, left hmld playing the (/oor tOI1/
Fig. 57. Samba cl"1Izado, left hand playing the hig/; tOI1/
64
Samba Styles on Drum Set and Percussion
DRUM SET The pattern below, played at a slow tempo, uses the snare on sixteenth notes (ganza, reco-reco) and accents (tamborim), plus the basic surdo (floor tom) and surdo de resposta (small tom) combination. The right hand should be played softly. You can use brushes to create an even softer sound. I use a single bass drum note to make the groove sound softer and cleaner. Example 1. LH:Toms RH: Snare wI Brushes > HT
so
Fr
DO
III!
j
HH w/fool
>
~
j
>
>
>
j ~ J 0 J I!
~
>
>
j
~ J
>
!
J :II
This next example emphasizes the hi-hatltom/bass drum and snare combination. This exercise requires more coordination. You may also play the same beat using the hi-hat foot on the downbeat "quarter note," and opening it on beat 2 of each measure. You may start by playing a single bass drum note on the downbeat and the hi-hat on the "+", as shown in the previous example. ,::,~.
.~ ·.11).·;
Example 2.
LH:Toms RH: Snare >
>
HT
so Fr
II
DO
Ij j
HH w/fool
>
II
j j
j
] 3J >
j
] 3J
~
>
>
0
j 3J
I! >
j
0
j
I!
>
] 3J
j
~
0
j
~
0 :II
The added mid-tom creates different melodies, using the one-note bass drum/hi-hat samba ostinato.
iO"':
Example 3.
LH:Toms RH: Snare HT
so
Fr
DO
HH w/fool
.. i ! j i
j
>
d
~
>
>
j J u J id 0
>
(d J ~ :II
65
Brazilian Rhythms for Drum Set and Percussion
This example shows another variation for the floor tom on a 4-measure phrase. You may try it using the regular hi-hat/bass drum ostinato, but be careful not to make the groove too busy. Again, you may start by using a single bass drum note on the downbeat, as written. Example 4. LH:Toms RH: Snare HT
so
II
fT
BO HH w/foot
I! >
II
!
~ ~
j J >
j
>
~
J
>
~ i J
~
>
10 ~
I~
~
~
]
~
J
j ; J
>
>
>
; j ~
j
J >
~
:II
PARTIDO ALTO CRUZADO Here is a partido alto inverted feel using a tom-tom melody. This example uses the samba cruzado technique. It has a 1-measure pickup. <~
,II:
~
MT~J
II
fT
BO
Example 1.
!3
i
HH w/foot
>
0 d
!
>
~
>
f
>
*
3 I~ J 0 d
Ij
* Right and left hands on snare at the same time This is a tom-tom melody pattern using the partido alto pattern.
'If
~
Example 2. >*
MT~ fT
BO HH w/foot
II
£ « ~U ~ ~ ~ JII: i ~ 0 3 ~ ~
* Right and left hands on snare at the same time
66
j ! 13
>*
~
03 ~
!
f ~:II
Samba Styles on Drum Set and Percussion
SAMBA RURAL This term refers to the way the samba is played in the countryside of Brazil. It's a mix of folkloric and African musics, or what I define as "a blend of baiao and samba." The bass drum/ hi-hat ostinato of the samba rural is different from the regular samba pattern. The snare drum accents follow the melody. On the CD example, I'm including the clapping pattern used by the people and dancers around the samba circle. Examples 1 and 2 show snare drum and ride patterns combined with the samba rural bass drum/hi-hat ostinato. ,'~~
,52,' ~
Ride
W BO
Example 1.
j
IIIW
J
,~
Ii,
:II
HHw/foot
Example 2.
Ride HT
SO FT BO
II
HH w/foot
ia
j
j j
f-
a
J
dJ j
j a J~
d :II
SAMBA FUNK The popularity of funk and fusion music styles around the world in the 1970s influenced samba and the music known as "commercial" in Brazil. Samba patterns started to have a back beat to the groove. This new style started being called "samba rock" or "samba funk." Samba funk has the back beat emphasis that is common in many pop styles. Tim Maia and Jorge Benjor were some of the main composers that created this style in Brazil.
', .
,
.
'~'
HH
so BO
This example shows the basic feel, playing hi-hat with your right hand. Example 1.
II I j
~
~
j
d
~
~
j
d
~
~
j
>
d
j
~
j :II 67
Brazilian Rhythms for Drum Set and Percussion
.':
This is a pattern played on the ride cymbal using the ride bell on the "+" of each beat. This kind of feel is used a lot on choruses of samba funk tunes .
... ~
Ride
SO BO
II
Example 2.
1m
J J
j J
J J
~ J
j J
J J
R
L
R
L
L
R
L
d
j
j
j
j
j :II
~
j
j :II
j
d
L
j :II
This pattern uses both hands on the hi-hat. Example 3. R HH
so BO
II
13
L
R
j
j
L
j
R
3
L
R
j
j
j
j
R
3
This pattern uses a snare drum groove. Example 4.
HH
so BO
II
13
j
j
j
>
~
j
j
~
d
>
~ ~
j J
Example 5 has a syncopated hi-hat rhythm, and adds a floor tom on the strong bea't of the second measure. Example 5. R HH
so FT
BO
68
II
13
R
j
R
j
R >
]
~
R
J
R
R
R
L
d
j
J ~
R >
L
R
R
J ~
j
j~:11
Samba Styles on Drum Set and Percussion
SAMBA IN ODD TIME SIGNATURES SAMBA IN 3/4 Although one of the main characteristic of the samba rhythms is the 2/4 meter with the strong beat on the "2," odd time signatures are also used quite often. Samba in 3/4 has the African 6/8 feel. There is no alteration on the bass drum/hi-hat ostinato, but now it supports phrasings around a pulse of three quarter notes, not 2, as in the 2/4 meter. Examples 1 to 3 are snare phrasings with the samba bass drum/hi-hat ostinato. In each example, the melody changes between the toms and floor tom. The surdo de marcac;ao note (floor tom on the drum set) is still felt on beat 2.
"'~: A.
HT
so
FT BO
HH w/foo!
Example 1. R >
L
R >
L
R >
R >
L >
R >
L
R >
R >
L
R >
L
L >
R
R
L
R >
R >
L
R >
L
R >
L
L >
B.
R >
L
R
L
R >
L
R
L
R >
R >
L >
R >
L
R
R
L
R
L
R >
L
R
L
L >
1113 J 0 3 3 J 0 3 3 J 0 3:111: 3 J 0 3 J J 0 3 3 J j 3:11 Example 2.
A. HT
so
FT BO
II
HH w/foo!
R >
I~
L
~
R >
L
L
B.
L
J ~ ~ J ~ :111: ~ J ~ ~ ~ ~ 9 J j ~ :11 ~ ~ 0 0 0 0 0
Example 3.
A.
R >
II
13
HT
so
FT BO
HH w/foo!
R >
L
R >
J 3 0
L
R B. >
R >
L
R >
L >
R
R
L
R >
R. L >
3 J 0 3 3 J 0 3:111d ~ j 3 3 J 0 3 J ~
L
0 3:11
69
Brazilian Rhythms 10r Drum Set and Percussion
SAMBA IN 5/8 Samba can also be played in 5/8. In 5/8, there is a break in the flow of the usual bass drum/hi-hat ostinato pattern. Next are two possible bass drum/hi-hat ostinato variations. Example 1.
A.
B.
:II
J ] :111:)
SO HH w/foot
The next example demonstrates the basic snare sticking phrase with the bass drum/hi-hat ostinato, as shown in example 1. The next measure has the floor tom on beat 3. To keep the characteristic samba accenting, the surdo de marca<;ao note (floor tom on the drum set), which is the accented note, may be played on beat 3. Example 2.
R
A.
.. fi
SO
so HH w/foot
L
n
R
L
R
L
>
R
L
R
L
R
f3
>
>
B.>
>
L
(! :111: F?
R
L
R
>
>
L
R
L
>
R
L
>
f1 f3 JJ f3 :11
SAMBA IN 7/8 Because of its characteristic rhythmic syncopation, samba can also work well in 7/8 meter. There are many compositions in 7/8 samba meter. In 7/8, as in the 5/8, there is a break in the usual bass drum/hi-hat flow that you experience playing the 214 pattern. The next example shows two bass drum/hi-hat ostinato variations:
"1"
'~
,
Example 1.
A. so
II
A)
j
J
}\
j
J
J)
j
J
J
J :II
aJ)
j
J
}\
j
J
j)
j
J
~l
:II
HH w/foot
B. so HH w/foot
70
II
Samba Styles on Drum Set and Percussion
These next examples are snare phrasings with the bass drum/hi-hat ostinato. Each example has a melodic change in the second measure using the toms and floor tom. To keep the accenting characteristic of the samba beat, the surdo de marca~ao note (floor tom), which is the accented note, may be played on beats 3 and 7. I also use the basic R/L snare sticking. Example 2. Triangulo
II
It,
~.
+
BO
II
HH w/fool
+
0
+
0
0
+
+
R
L
0
+
0
+
0
0
+
I J J J J J J J J IJ J J J J J J J :II Example 3. Adding the floor tom. R (»
so
0
L
AS ~
R
L >
j 3
R
S
L
~
j 3
R
S
L
~
R
L
R
L
>
;
~ :II
L >
R >
j 3
Example 4. Similar to example 1; only the hi-hat/bass drum ostinato is changed. R (» so BO
II
HH w/fool
z3
L
~
R >
L
j 3
R
S
L >
R
L >
R
~
j 3
S
L >
R
R
L
R
~
j 3
L
3 0 :II
Example 5. Adding the high tom. R (» HT
so Fr
BO
HH w/fool
II
L
J A3
, R >
L
R
3
~
J
L >
j j
L
3 J
, R
L >
R >
3 ~
L
0 :II
71
Brazilian Rhythms for Drum Set and Percussion
SAMBA IN ODD TIME SIGNATURES: CYMBAL PATTERNS Next are two examples of samba in 3/4 time, using ride cymbal and snare drum patterns. The surdo note on beat 2 is the strongest beat of the measure.
SAMBA IN 3/4 TIME: CYMBAL
I;."
.":-~
~
Ride
SO
II
Ff
SO
HH w/fool
Example 1.
j ]
I II: 9
9
J
j
]
:II
j
:II
Example 2.
Ride
SO
II
Ff
SO
HH w/foot
I Id
J
j ]
9 J
j ]
Following are two examples of 5/8 samba grooves. Note that the bass drum and hi-hat parts have a break in the flow.
.'
SAMBA IN 5/8 TIME: CYMBAL
i,-~1!\
'~'i
Ride HT
so Ff so
II
HH w/foot
Example 1.
h
B II: 3
~
j
a
J
j j
ZE
]
:II
j
3
a
J
~
±
~
:II
Example 2.
h
Ride HT
so Ff so
II
HH w/foot
i.
B II: 3
j
','J!1\.
. , : SAMBA IN 7/8 TIME: CYMBAL This 7/8 example is a 2-bar rhythmic pattern. It has continuous sixteenth-note hi-hat rhythms that can also be applied in the two previous examples in 3/4 and 5/8. Ride HT
SO
Ff
SO
HH w/foot
72
g
,
SECTION 3 _
FORROMUSIC The \\Iord "(0 1'1'6" is an abbrev iation of "(orr6bodo ." It is ll sed to refer to th e places w here
people go to dance to the mu sic o f specifi c styles. Some peopl e say the word came fro m the Engl ish term " fo r all." Durin g World Wa r I, th e Un ited States set up a camp in Braz il and held parries w ith big-band mus ic. T hey inv ited peopl e [0 come to dan ce . Th e front sign age reacl, "Fo r all [0 dance ." Howeve r, the term fa rr6 has been ll sed
by the press in northeastern Brazil sin ce
mid-1 880s to refer to th is popula r dan ce ve nue. Th is p lace to dance started to be popu la r in th e no rth east, but was late r introduced in Sao Paul o, Ri o d e J a ne iro, and Bra silia , fo llowi ng the mig ration of the northeaste rn people. Th e music was inst rum enta l and voca l, w ith sanf6nas, violas, za bumba s. and tr ia ng les as th e main in strum e nts.
The Illu sic styles played at the fa rro places are the xote, xaxa do, rajao, sa mba [ural , coco, roada , and bai ao, a mong others. Thi s section includ es th e most pop ul ar and kn own sty les, whi ch arc th e bai ao, th e xaxado, and th e coco.
BAIAo Th e baino rhythm in Bra zil , also known as "ba iano," developed originally a roLlnd 1938 in th e
serlao, a dr y countr ys id e in th e sta te of Para iba , Brazil. Ba iao is both a dan ce and a mu sica l style . In the no rtheast, it was a lso known as an in strum ental mu sic made for da nc in g or to be
played at interludes of the song style canto do desafio. In thi s style, two singe r/guitari sts cluel in playful co mpetiti o n , improv ising lyr ics that tease or poke fun at the o th er, until one becomes "stumped. " The rhythm is less synco pated than the sa mba. The clance fe a tures co upl es tap danc in g, clap ping their ha nd s, and performing co mpli cated steps. Th e wome n play casta nets. Lu iz Go nzaga, who is pro cl a im ed in Brazil as the King of Baiao, was the first to record a bai ao and transfo rm it in a popular urban rh yt hm in 1946 with the so ng "Ba iao." T he bai ao beca me internationall y know n as a mu sica l sty le in 1950 through th e work of th e Brazilian co mposer Wa ld ir Azevedo, who w rOte the tun e "D eli cado." This tun e for cavaq uinho later received spec ia l a rrangements by Sta n Kenton and Percy Faith , and was used in the film
a
Cnngnceiro, whi ch
rece ived an ho nora ble mentio n in music at the 1953 Ca nnes Fil m Festiva l in France. Befo re the bossa nova, the baiao was the most influ ent ial Brazilian rh ythm a ro und th e wo rld.
73
Brazilian Rhythms for Drum Set and Percussion
PERCUSSION ENSEMBLE The basic baiao percussion instrumentation is zabumba, triangulo, agogo, and pandeiro. There are groups that add the snare drum and caxixi or ganzel to give additional color. The agogo can also be played on the "+" or on the downbeat, but I think the downbeat sounds better for the coco and xaxado, the other forro rhythm, due to their syncopation of the bass drumlzabumba part.
BAIAo PERCUSSION ENSEMBLE
'H.~; ~u +
Triangulo
o
+
o
+
o
o
+
o
II
!
0/
Pandeiro 0
II
!
+l
+
~
D
+
~
+
~
+
~
0/
J1
0
+
~
+
+
o
o
J J J J J J
III J J J J J J J J Agogo
o
+l
+
0
~
IJ
~
iJ
i
D
Ii
+
~
+
~
+
0
J) +
~
~
~ j
g~
j
x~
~
:II
:II
Zabumba LH RH
II
!j
g
~
g
""=""
:II
LH: Stick (rim shot or bottom head) RH: Surdo stick (maceta)
The zabumba can also be played like this:
LH RH
II
Ij
LH: Stick (rim shot)
74
j RH: Surdo stick (maceta)
~
g
iJ
:II
Forr6 Music
DRUM SET It is important to think about the zabumba and triangulo parts when playing these rhythms on the drum set. We apply the triangle feel to the hi-hat and ride cymbal. Using the bell of the top hi-hat and bell of the ride cymbal, we create open notes to sound like the triangulo. Play the zabumba notes on the bass drum. Later, try replacing some note of the bass drum with a floor tom hit to make the groove more interesting.
Here is a tom-tom phrase with the baiao feel.
'·I~·
J 1
~"
Example 1.
Using toms: R >
A. HT MT
so Fr so
HHw/foot
nlJ
Using hi-hat on the downbeat: L
L
~
j
R >
L
L
d J J
R >
j
L
R B. >
J :111: ;
L
L
R >
OJ
OJ
d
L
L
j
J J J :II
R >
L
This is a pop variation using the hi-hat to add the triangulo feel on the first measure, and a variation on the second measure. 'l~~
~.:
Example 2. R
HH
so so
II
II
I
j
Ij
L
R
0
0
J J 0
0
~
~
L ... 0
j J j J
0
0
J J J 0
0
~
~
~
d d
0
J J 0
0
~
~
0
j J
0
J J J 0
j
d
~
J
~
:II
The next examples use paradiddles that are commonly used in Brazilian jazz. Play the first measure of each example four times on the hi-hat, then go to the second measure and play it four times on the ride cymbal where cymbals are used. ,.'.~
."R .·
1.1 ~(.,
Example 3. On Ride: R
A. HH HT
so so
nlj
R
L
J J
L
R
L >
R
R
R
R
j
J J J J J :111:9
B.
L
R
R
L
)J
OJ
R
i
L >
OJ
:II
75
Brazilian Rhythms 10r Orum Set and Percussion .'-~.
sr'
. .~ ~.
.r
Example 4. On Ride: R
A. HH HT
so so
II
HH w/foot
ij
L
L
d d
R
L >
~
J
R
L >
R
R
~
~
R
R
R
L
B.
d :11i=J
R
L
L
J
~
a
R
R
~
~
L >
L >
R
J J
R
L
j
~
:II
Example 5. R
A. HH HT
so so
II .~., ·.1
~
..
Ij
L
d
R
~
~ J
~
~
L
L
B.
d :111: ~
d
R
L
R
R
J j
~
~
Now try playing along with the baiao example on CD track 80 .
XAXADO Xaxado is a dance that has been performed by men in the sertiio (dry countryside) of the state of Pernambuco since the 1920s. The men wear the costumes of the Cangaceiros, a robber gang that was active in northeastern Brazil in the 1920s and 1930s. The xaxado was part of the celebration after the robbery in the many towns they raided. It is possible that the xaxado dance originated at the parraxaxa, the war chant of the Cangaceiros. The spread of xaxado throughout the northeast was probably mostly due to the conquests of the gang of Virgulino Ferreira da Silva, known as Lampiao. The xaxado can be danced in a circle or a line. The right foot performs three and four lateral movements and the left follows on a fast dragging step. The name comes probably from the sound (sha-sha) made by the dancer's sandals dragging on the ground. The traditional dance had only vocal music, and the dancers used the butt of a rifle to accent the strong beat. As well-known forro music composer Luiz Gonzaga said, "The rifle is the lady in this dance." Without the participation of women, the xaxado was never a popular dante. It was performed mostly at theaters and on radio and television programs as an original choreography from the Cangaceiros. However, the rhythm became popular among composers of different styles. On the radio, the xaxado era was the same one as the baiao: 1946-56. The lyrics are typically satirical and aggressive, and the melody and rhythm are similar to the baiao and coco. Important composers include Jackson do Pandeiro and the late Luis Gonzaga. On the instrumental side, the most well-known composers include Hermeto Pascoal, Egberto Gismonti, Grupo Pau Brasil, and Sivuca.
76
:II
Forr6 Music
PERCUSSION ENSEMBLE The percussion ensemble instrumentation is the same as the baHio, but the zabumba rhythm has a more syncopated rhythm. The agogo traditionally is played on the quarter notes, either on the upbeat or the downbeat. Today there are some agogo variations similar to the one below. The pandeiro can also be played using the samba pattern in sixteenth notes. A snare drum is used by some ensembles.
,
XAXADO PERCUSSION ENSEMBLE
It
II
,;
~
Triangu}o
+
.. I ~
0
0
~
~
+
~
+
~
0
0
~
~
+
~
+
0
0
+
+
0
0
+
I J ~ ~ ~ ~ ~ ~ ~ :II
Agogo
.. i ~. Pandeiro 0
.. 2 ~ Zabumba LH RH
~
+
~
+
~
+
~
~
+
~
+
~
+
~
0
nlJ
I ~.
~
+
~ 0
7.
~
SOLO ... 0
+
+
+
I~ ~ ~ ~ 0
FJ iJ
g~
~
,..
-==::0
.,;-
+
~
+
~
:II 0
~ :II 0
J
7.
~
g
Ej :II
LH: Bamboo stick (rim shot on bottom head) RH: Surdo stick (maceta) The zabumba can also be played like this: LH RH
II
!~
~
g
I~
~
g
~
LH: Stick (rim shot) RH: Surdo stick (maceta)
77
Braz\lian Rhythms 10r Drum Set and Percussion
DRUM SET
r.
A pop version that is used a lot by forro groups.
i\
~['
Example 1. R
HH
so
II
BO
10
L
R
L
~
~
~ J
R
L
R
L
~
~
j
R
L
R
L
d
~
~
~ J
R
L
R
L
~
~
j :II
The ride cymbal and tom-tom add a jazzy feel.
Ill' ,.. \
\~ 'I Example 2.
Ride HT
SO
II
FT
BO HH w/foot
R
L
L
I~
~
j ~
L
R
R
L
R
j ~ I~
J J
L
L
J
j ~
R
L
R
L
R
J J
R
j ~ :II
Here is another melodic combination with the bass drum and snare drum. The bass drum note on the "e" of beat 2 is also typical of the xaxado. Example 3.
HH
so
II
BO
~
10
j
~
j
~
j
j
j
dj
~
j
~
j
j :II
Here is another variation adding the bass drum on the "e" of beat 2. This bass drum/hi-hat ostinato is used by many drummers. ~,It!\ ~_,tJ
Example 4. R
Ride HT
SO BO HH w/fool
78
\
II
L
!~ J
L
d
R
L
i
JJd ~
R
L
R
R
d
L
L
J
d
R
L
i
J J
R
R
L
jE
~
:II
Forro Music
Here is another melodic combination with the bass drum, toms, and snare. Example 5.
HH SD BD
II
I
j
~
~
j
~
j
~
~
d
~
j
j
~
j
~ j :II
This example applies the ride cymbal and the hi-hat agaIn, with the foot on the "+" of each beat. Example 6.
Ride HT SD BD
II
I~
~
j
~ J~
~j
~
I~
~
j ~
J ~ J
~
:II
coco The coco is a dance that originated on the sugar cane farms in the state of Alagoas. It appears mostly in the coastal areas of northern and northeastern Brazil. The dance's oldest known use was at popular dance rooms in the second half of the eighteenth century, at which a cithara, a stringed instrument, was the accompanying instrument. Some people consider the coco of Brazilian origin, with some African influences. The coco is performed in a circle, by dancers and percussionists who sing and clap hands. Sometimes there is a solo dancer. The rhythm is similar to the baiiio and xaxado. It usually has a 2-measure rhythmic pattern and can be viewed as a funky baiao. This rhythm is widely played at the forras in Brazil, and is used by many wellknown composers, such as Caetano Veloso, Gilberto Gil, Djavan, and Carlinhos Brown.
PERCUSSION ENSEMBLE We can play the zabumba pattern on the pandeiro and use a surdo de resposta or conga drum on the first beat every two measures. There are several zabumba variations. I wrote two basic ones, including a part for peneira. (Peneira is a big caxixi, a type of shaker.) You can also add a cuica on the off beats (the "+"). On the audio CD, there is a surdo de resposta on beat 1 every two measures, as some coco groups do.
79
Brazilian Rhythms for Drum Set and Percussion
COCO PERCUSSION ENSEMBLE ,.=-.~
IO·:~
"C'
Snare Drum
II
I
I
Claps
II Tamborim
II
R
R
L
R
+
+
+
0
0
~
~
~
~
~
~
+
0
0
+
+
0
0
I
~
~
>
~
~
~
~ g.
~
~
+
+
~
I J.
7.
~
>
~
II
2~
~
~
Zabumba LH RH
II
R
R
+
0
IJ +
~
~
L
+
~ 0
+
~ 0
, ~
IJ
~
>
~
I~
K:
Zabumba LH RH
L
R
R
L
R
L
>
+
0
0
~
~
~
+
+
0
0
:II +
I J J J J J J J J IJ J J J J J J J :II
Peneira or Ganzel
II
L
>
0
Triangulo
II
R
I J J J J J J J J IJ J J J J J J J :II
Pandeiro
II
R
g.
+
J I, .r-J ,.
IJ
~
g
>
I J.
Q
I g.
~
~
~
7.
~
>
~ ~
&....
~
:II :II
+
J
~
:II
~
:II
>
J I, •-,. J
I
:II
«
:II
g
Surdo de Resposta
II
80
2F
«
I«
Farro Music
DRUM SET On the drum set the coco patterns are similar to the baiao and xaxado, with variations mostly on the bass drum pattern. These are some coco patterns for the drum set. You may use the three-note ride variations (as shown on page 54) for faster tempos.
"I~\
\~'"
Example 1. >
0
HH
so
II
BO
I]
~ J
0
0
~ J J ~ IJ 3 J
~
~
>
~
0
j
J
J :II
Example 2. 0
Ride
so
II
BO
13
J J
]
>
0
d J
j
, Id
0
j
J
j
>
0
d J J
] :II
Example 3. ,.
HH
so
II
BO
.
It:;
~
HH
so BO
II
1j
J J
j
>
~
j
J ~
d
~ J
j
>
~
j
J ~ :II
>
>
Example 4.
1j
~ J
j
>
~ J ~ J
d3
J
j
~ J ~ J :II
CALANGO Calango is a rhythm and dance form practiced in the state of Minas Gerais. It originated in cities including Bicas, Barbacena, and Caratinga, and is a version of the coco-de-embolada, a rhythm that comes from the state of Alagoas. This song style is also considered as a farro, having the same instrumentation and melodic motives. The rhythm is binary (two beats to a measure) and the melody is usually created on top of 4-measure phrases. The calango originated from the music of non-slave people working on the fields with the slaves during the late slavery period. It is also practiced in Rio de Janeiro, due to the state's shared border with Minas Gerais. In the northeast, the Calango does not include dance. It includes only the singing, in the form of verse and chorus, both set in 4-measure phrases. The calango dancers use samba and tango steps.
81
Brazilian Rhythms for Drum Set and Percussion
The dancers may dance only to the music of a sanfana or a viola caipira (a Brazilian acoustic guitar.) The traditional accompanying instruments are the 8-bass accordion, agogo, pandeiro, snare, surdo de corte, and bombo (which replaces the zabumba). One of the earliest calango recordings is "Calango da Lacraia" by Luis Gonzaga, dated February 1946.
PERCUSSION ENSEMBLE The calango pattern is characterized by a 2-measure rhythmic phrase in 4/4. It has a rest or turnaround in the snare drum and surdo parts on beat 2 of measure 4 .
. "~
CALANGO PERCUSSION ENSEMBLE
,,&f; ~
(Repeat 1st measure 3 times) R
Snare Drum >
II
R
L
I
Pandeiro
II Caba~a
R
L
R >
L
L
R >
R
L >
I J J J J J J J J :11 J J J J
Agogo
II
L >
•b
:t 0
+
+
J
J +
+
0
l
+
0
+
0
+
+
0
R >
L
~
J
J)
l:t
, J J J :II L
+
0
:II +
i J J J J J J J J IJ J J J J J J J :II
or >
Afoxe
II
>
>
>
>
0
0
+
>
I J J J J J J J J IJ J J J J J J J :II
(Repeat 1st measure 3 times)
Surdo
+
0
II
I J.
0
Q
J
:II J.
J
Surdo variation used sometimes within the rhythm:
II
I
I{
J
Bombo
II
82
I
I{
))
Q"'="'" J >
J
J >
J
II :II
Q
0
I{
0
0
J J J :II
Forr6 Music
DRUM SET On the drum set, we'll apply some bass drum variations. Note that the bass drum pattern is the same regular pattern used commonly in other forr6 music. The calango may be accented on either beat 2, 2+, or 1. This 4-measure phrase groove has the bass drum accent on beat "2+".
'·'f·
\~'/
Example 1. L
R HH
so BO
II
J 2j ~ R
HH
so BO
II
R
j
R
L
~
~
L
R
j j R
L
j j
L
J L
~
R >
j
R >
j
L
J L
~
R
d
L
R
~ J
R
L
d
~
L
R
j j
R
L
~
j
R
L
J L
R >
L
j
J
R
L
>
J ~ ~ ~ :II
Play this 2-measure example as is, or use the snare hit on the second measure on the "e" of beat 2 on the high tom. Example 2. R HH
so BO
II
I]
L
R
>
J J
L
R
j ]
L
R
L
J ~ J
R
d
L
R
>
J J
L
R
~ j
L
R
L
~ ~ d :II
Play all four measures as one pattern. Either 2-measure phrase can be used as a single pattern. Example 3. >
Ride
so BO
II
13
d J 9
J d J 3
>
II
3
d
~j
S 3
~j
d J
>
is
d J 3
dd
3 J
d J
d
~ ~
>
J
9
J
:II
83
SECTION 4
CARNAVAL RHYTHMS
MARCHA AND MARCHA RANCHO Mareha (march) is a style o f rhythm derived from military parades created fo r Ca rnaval dan cin g o n the streets, in g ymna sium s, or ill clubs 'where the Carnaval parti es take pl ace. Iniri a ll y rh e Illarchas were slow, a nd we re sung a nd d a nced by fo lklo ric g ro ups during Chri srmas season in rhe countr yside of Brazi!' Around 1920, as the marcha s abso rbed inAuences from th e Ame rican Bi g Bands, their te mpo got fa ster. An exa mple o f the slowe r marchas is the song "0 a bre-alas," composed by Chiquinh a Go nzaga in 1899. Thi s so ng is conside red the first marcha to have been composed es pecially fo r the Ca rn ava !.
The 1920s we re a producti ve pe ri od fo r ma rcha-style songs, as it had become po pul a r fo r pro fess io na l co mpose rs
[0
w rite exclusively for the CaI'nava l. Th e th c mes beca me
111 0 r e
contemporar y, often satiri zing current events or publi c fi gures. (After '1930, th e marchas were
al so ca lled marchinhas.) By rh e 1950s, rh e Illusic made fo r Carn ava l achi eved comm ercial success . Some so ngs were no t all owed to be perfo rmed, as th eir lyri cs were o ften censored fo r po litica l reasons. But th e marcha continues to be predo minant at th e Carn aval w ith th e ri se o f newe r co mpose rs. Now o ther rh ythm s, incl uding axe, tim ba /ada, and (ricole mus ic also have beco me a parr of th e Ca rn ava l.
Marc ha rancho is a sty le of Illusic o rigin ally composed by insrrumentalists, mOSt o f the III wood wind pl aye rs, fro m Ca rn ava l ra nch o rchestras in Ri o a round 1910. The sry le has a slower rh ythm a nd mo re co mplex melodies th a n t he usual ma rchas. After 1920, professio nal composers sta rted calling th e style marcha de rallcho . The o ldest exa mple o f rh is style is the 1927 so ng "/\ Ilo reninh a" by Ed uardo So uto.
In 1938 , afte r melod ic and rh ythmic deve lo pments, the new style was d efined o n the so ng "As Pasto rinh as" by N o e l Rosa and Joao de Bar ro. It becam e kn o wn o nl y as ma rcha ra ncho .
84
Carnaval Rhythms
PER(USSmON (ENSEMBLE MARCHA The marcha is faster than traditional samba and slower than the frevo. The marcha has a similar feel as the samba, but it does not have as many rhythmic variations. It is also more square, always using the same accent patterns. However, there are a few possible ways of playing the snare drum. Two of these appear below. In the case of the marcha, the melody is composed to fit the marcha rhythmic accents.
Bl'.
MARCHA PERCUSSION ENSEMBLE
~
Snare Drum FASTER TEMPO >
>
II i J.
Q
J
>
>
>
J
I~ J J
>
>
~.
buzz
:II
Snare Drum MID TEMPO
II Pandeiro
>
>
+
+
>
I J J J J J J J J I~ J J J J J J J :II 0
+
II
2 J.
Q
J
2 J.
~
r
II
J
~
Q
J
J
Agogo
+ .~
J
I
r
IJ
+
0
+
+
+
J
J J
Q Q
:II
~
J
J
:II
Reco-reco
II
IJ
J
Ganza
II Surdo
IJ J J +
II
2J
Q
J J 0
J
J J J J J
Q
:II
>
>
Q
I~
Q Q 0
J
I~ J J J J J J J :II +
IJ
0
J
:11
85
Brazilian Rhythms for Drum Set and Percussion
MARCHA RANCHO The rhythm is much slower than the marchas, and it must be relaxed yet precise. I've added a tamborim to embellish the groove.
MARCHA RANCHO PERCUSSION ENSEMBLE ,,'::':~,
\,18,,; ~
Snare Drum
II
I
Tamborim
II
I
>
~.
>
~.
Pandeiro
II
I
~. +
Agogo
II
>
~
>
~
~
~
+
0
~
~ >0
>
~
>
I~
>
~
~
I~
~
+
+
+
~
I J.
~
d
~
I J.
Q
J
J
I~
+
Id
>
l
:II
>
~ 0
~
~
~
>0
:II +
~
" J -;-
+
~
+
~
:II
Q
:II
Reco-reco
II
Ganza
>
II Surdo
J
:II
>
i J J J J J J J J I~ J J J J J J J :II +
II
86
J
IJ
0
J
+
IJ
0
J
:II
Carnaval Rhythms
DRUM SET MARCHA The hi-hat may be played on the "+" of the beat. However, I prefer it on the down beat, opening on beat 2 and closing on beat 1. This gives both a different pulse and feel from the hi-hat of the samba and a better downbeat feel for the groove. There are a few ways to interpret beat 2 of the second measure of the snare drum. Try playing it with single strokes or buzzed double strokes. This is good for a medium tempo using bass drum on beat 2. ~
81,
Example 1.
'12
R SD BD
II
HH w/foot
i
L
~
j
R
L >
single stroke or double buzz
~
~
3
>
~
~
~
>
~
Ij
~
~
~~
:::::::::.
:II
This next one is to be used when the tempo is medium fast or when you need to play louder. This is good for faster tempos. Example 2. R
so BD
II
HH w/foot
R
L >
>
i II: ~:
;
~
R
R
L
~
I~
~
>
0
R
R
; >
~
L
R
L
~
~
~ :II
0
This variation uses the hi-hat on the "+" of the beat. The accenting is slightly different. On beat 2 of the second measure, the double-buzz or single-stroke roll with the right hand leads. Example 3. R so BO
II
HH w/foot
R
i 11:3
0
L >
~
R
R
3
R
R
>
0
13
>
0
!
~
:II
MARCHA RANCHO Here is the basic snare drum pattern with bass drum/hi-hat ostinato. The hi-hat may be also played with the foot open on 2, closed on 1. Example 1. R SD BD HH w/foot
II
Ed
L
J
R
L >
R
L
R
>
J d J 0 0
L
I~
R
0
R >
~
J
:II 87
Brazilian Rhythms for Drum Set and Percussion
This is a variation including the toms. Example 2.
Ride
so
II
fT
BO
HH w/fool
.',
23 J
,
J (u) J
,
I~
J
J
:II
You can also play the marcha rancho using a triplet feel and a different sticking pattern.
,~
Example 3. 6
L so BO
HH w/fool
II
2 3:
L
Q
R
;
L
J
R
I~
L
J
R
3
J J J J J :II
L
L
R
FREVO Frevo is a dance and rhythm that arose in Recife, capital of Pernambuco, a northeastern state of Brazil. Originating in the streets in the last decade of the nineteenth century, the frevo was based on the music and rhythms of military bands, but with a faster, more syncopated rhythm. Frevo is a binary rhythm (two beats per measure) and is played at a very fast tempo. It is characterized also by specific horn arrangements and phrases. The dancers use colorful parasols as part of the choreography, and perform bouncing dance steps specific to the frevo style. The word "frevo" comes from "ferver," which means "to boil." People would misspell it and say "frever" or "frevura," meaning agitation. After 1917, the frevo was introduced at clubs for the Carnaval festivities, but it was only in 1957 that the rhythm began to achieve widespread popularity, with the song "Evoca~ao" by Nelson Ferreira. Ferreira and Capiba were the two more important frevo composers. The fiist recording labeling the style was "{revo pernambueano," by Luperce Miranda and Oswaldo Santiago, performed by Francisco Alves in 1930. Frevo mus}c may be divided into three categories: {revo ean~ao (melody-driven frevo); {revo de rua (with horns); and {revo de bloeo (small groups with strings and percussion). Traditionally, the music was entirely instrumental, and the melody was usually played by a horn section. Later, electric guitars were introduced to play the melody in ensembles called trio eletrieo-musicians that would play on a flatbed truck that would travel slowly through towns. Now, many frevo songs also include vocals.
PERCUSSION ENSEMBLE The frevo rhythmic phrase takes two 2/4 measures to complete. The percussion section uses fewer instruments to provide the rhythm. The tempo is very fast, and using fewer instruments reduces the chance of crossing the beat, creating confusion and a loss of rhythmic clarity.
88
R
R
Carnaval Rhythms
FREVO PERCUSSION ENSEMBLE
!8:. ':!'\
Snare drum
II
>
I
~
~
~
>
~
~
>
~
~
~
>
~
IJ
>
~
~
~
:II
Snare (alternate) >
II
I
Pandeiro
II
Surdo 2
II
~
~
>
I
~
~
>
~ ~
>
~
j
>
~
2J
~
~
~
J
IJ
:II :II
>
~
II
~
>0
>
II
:II
>
+
J
Surdo
~
~
~
IJ
>0
+
~
>
~
~
~
gJ
0:::::::::
>
~
II
:II
DRUM SET Start playing the frevo on the drum set using only snare drum, bass drum, and hi-hat. The goal is to get comfortable playing at fast tempos. The hi-hat may be played on the beat, though I prefer it on the upbeat "+" because of the bouncing pulse it creates. Here is one possible snare drum variation.
'j:
~
Example 1. R >
so BO HH w/foot
II
L
R
L
R
L
R >
>
L
R
L >
R
L >
buzz >
I d J 0 J d J 0 J Id J 0 J ~ >
>
]
:II
89
Brazilian Rhythms fm Drum Set and Percussion
Another snare variation. Example 2. R
R
L
>
so
II
BO HH w/foo\
L
R
>
>
L
R
L
RRLL ...
>
>
>
13 J 0 J 3 J 0 J 13
>
~
0
:II
I
X
buzz
Add the floor tom to bring the surdo accent to the groove. Example 3. R
L
R
>
so
II
FT
BO HH w/foot
L
R
>
L
R >
L
R >
L
R
L
R
>
L
R
>
>
L
R
L
R
L
i~ J 0 J ~ J 0 J I~ J 0 J ~ J 0 J :II This example adds tom-toms. Example 4. R
HT
so
II
FT
BO
HH w/foot
.•
I~
L
~
R
j
L
R
>
J
L
R >
L
R >
L
R
L
J J 0 J 13 J 0 J J J 0 J :II
Here is an example of cymbal use. The volume is softer, but the tempo should remain steady.
"~~
~
';
Example 5. >
Ride
so
BO
II
HH w/foot
13
j
~
>
3
~
>
13
~
IJ
~
3
J
j
~
J
j
~ :II
:11
Example 6. Using the cymbals.
Ride
SO BO HH w/foot
II
IS /
90
j
J
J
~
J
SECTION 5
AFRO-BRAZILIAN RHYTHMS Most Afro-Btazil ia n rhyt hm s were d eveloped in Bahia, in northeastern Brazil. Bahia is hom e to th e strongest African cu lture in the western hem isphere. Afro-Brazil ian rhythms are directly related to religions such as the Ca nd omble and Macumba, which have stro ng ties to Africa n mythology. From these religious cu lts came the blows afros and afoxes-t he Bahian ve rsio n of Rio's escola de samba, whi ch parade duri ng the Ca rn aval, and the maracatu from Recife, whi ch has its origin s in the processions for the Afr ican gods.
AFOXE The name afoxe can be related to severa l things. It is th e name of a rh yt hm , a percllssion in strument, a sty le of music, and th e popular Afro-Braz ilian ce lebration that happens in Bahia,
es pecially during the Carnava l festivities. The afoxes (groups) have simil ar roots as th e maracatlls (see page 94) . However rhe majority of maracaru groups, or nap5es, are located in
Recife, a city on the northeastern tip of Brazil. Th e slaves brought the afoxe to Btazil from Africa . It develo ped most in Bahia, due to the sta te's large Afro-Braz ilian co mmuni ty, but can also be found in other states. The st yle and cost umin g
depends o n whet her th e group is of Jeje, Nago, or Keto or igins. Th e afoxe is a reli gious so ng a nd rh ythm of the Candomble, mainly of Jeje-Nago origin . The afoxe groups parade on the st reets sin ging Cando mble songs in Yoruba language, bringing the sacred a nd profane roget her d urin g the Carnaval. The musicians a nd dancers d ress li ke orishas. O ne of th e best known afoxe groups is Filhos de Ga ndhi (children of Gandhi) . Before the afoxe group gets out
[0
the parade on the streets, th ey perform an indoor re lig io us
titua l. This ceremony is called Pade Exu and is co nd ucted by the main characters of th e cast, who sing and play the sacred mus ic. The ceremony is performed
to
prevent the di sturbing of the
Ca rna va l fest ivities by the orisha (god) Exu. \Xlhen the ceremon y is completed , the g roup goes out to the streets fol lowing a predetermin ed cha racter's line positio n. The st reet songs are joyful and happ y, contra ry to the ones performed
in the ind oor ritu al. Th e street songs make people dance and clap as they follow th e group o n Its rOllte. The afoxe rhythm is one of th e most important sou rces for the evolu tion of the modern mu sic
from Bahia .
91
Brazilian Rhythms 10r Drum Set and Percussion
PERCUSSION ENSEMBLE The basic instrumentation is agogo, pandeiro, atabaque, and ganza. The afoxe has some rhythmic variations on the agogo and on the atabaque set. Other percussion instruments that are also found in some arrangements are afoxe, xequere, surdo de resposta, caxixi, and handclaps. In contemporary arrangements, the sound of timbales has been incorporated, revealing strong influences from the Caribbean culture, especially Bob Marley. The agogo phrase below is the basic one, but there are many other rhythmic and melodic combinations.
1 '\
AFOXE PERCUSSION ENSEMBLE
,.J;~
:
"
~
Xequere
B III Afoxe or caixa
>
>
j
>
;
~
+
+
I
Caxixi or Ganza
II
2
II
I
~
+
•r j
>
J
J
r ~ • II I
II
~
x
~
I
Atabaques Rumpi Rum
f
~
II Agogo
x
~
~
>
~
x
~
fJ.
I
J
I
~
~
0
~
~
g~
g
I I
~
J
>
~
>
~
~
~ +
~
+
~
>
J
x
J +
0
>
I
j
J >
~
~
~
~
0
0
~
~
:II ~
:II :II
+
~
~
~
g
:II :II
g
Claps
~.
~
0:::;::0
~
Contra Surdo
II
92
I
~
IJ.
~
<;:;:>
~
~
:II
0
«
«
IJ
«
:II
Afro-Brazilian Rhythms
DRUM SET The afoxe rhythm has been a new source of research for many top Brazilian artists, mainly from Bahia. There are a few beats that may be used, depending on how many percussionists the group has, the tempo of the tune, and the melody. In example 1, the snare drum notes should be played softly at first. Then play the groove accenting one snare note at a time.
'D~·
Example 1.
'l::.:'.
>
so
II
BO
J ~
J
HH
I
>
>
>
~
J ~ I
~
>
>
~
j
~
j
~
~:
J J ~
~
~
:II
Here is a bass drum variation.
'711~..,
Example 2.
'~
HH
so BO
II
i
~
~
J J
J
I
J
j
~'ll
This example adds the mid-tom on the surdo de resposta note. Example 3.
Ride
MT
so
II
BO
2
j
J J ~
>
~
a
I~
:II
a
This example incorporates more sounds from the drum set. Example 4. L
L
R
L
L
a~
~
a~
~
R Ride MT
SO BO
II
2
R
L
ala
R
L
R
L
R >
R >
L >
~ ~ ~ J ~ ~ ~ :II
93
Brazilian Rhythms for Drum Set and Percussion
MARACATU Maracatu is a semi-religious singing and dancing parade possibly of Afro-Brazilian origin. The group goes to the streets, usually in front a church, to celebrate after paying homage to "Our Lady of Roses." Although there are small maracatu groups In other Brazilian states, it seems to be active presently only in the state of Pernambuco, mainly in the capital of Recife. The maracatus of Recife used to perform at several religious, civic, and popular festivities, but now they mainly perform at the Carnaval. The maracatu groups are called "nations." They sing and dance, following a woman that carries a very well-adorned wooden doll, called the calunga, on a baton. There are two suggested explanations for the name "calunga." The first is connected to the word "banto," which means "Lord" or "Big Chief." The other is connected to the god Calunga, which means "the sea" for the Angolan conga players. The calunga is the center of a religious ceremony that is conducted before the maracatus exit to parade on the streets. The characters of the procession are: the king, the queen, the king's maid of honor, the queen's maid of honor, the prince, the princess, three calungas (only two at the Carnaval), step dancers, the slave, the tiger and the elephant, front ladies, percussionists, the caboclos (descendents of marriages between indigenous and European people), and baianas (women dressed in Bahian style). The original instrumental section IS composed only of percussion, with the following instrumentation: gongue (agogo), tarol (a piccolo snare drum), caixas de guerra (snare drums), surdo de corte, and alfaias (low-tone drum). This formation is known as maracatu de baque virado. The other type of maracatu group is known as maracatu rural or maracatu de orchestra, which adds the brass (trombone and saxes mainly) and has some different characters. The singing section of the maracatu traditionally consists of a single vocal chant, with a dialogue between soloist and chorus. Sometimes the singing happens in a group.
PERCUSSION ENSEMBLE The alfaia is played with the top head facing up and with both hands on the top head. The left hand uses a surdo stick with a wooden head (not the bacalhau, or cod fish, which is the name given to the stick used on the baiao, xaxado, and coco). The right hand uses a wooden-tip surdo stick also. Only flute, acoustic guitar, and percussion compose the traditional maracatu ensembles.
94
Afro-Brazilian Rhythms
MARACATU PERCUSSION ENSEMBLE
'1f'. ~
R >
Taro1
II
I
Caixa
~
L
R
~
~
L >
~
>
II
I
~
R
L
~
~
R
L
~
~
R >
L
~
~
R >
~
L
R
L
R
IJ
~
~
~
~
L
R
R
L
R
~
IJ
L >
~
~
~
R >
~
L >
R
L
~
~
~ :II
L >
R
L
~
~ :II
~
Repinique >
R
L
II
I
>
F
I
Ganza
~
II
I
II
I~
Agogo
~
>
~
C
~
~
~
L
+
0
II
I
0
II
I
~.
~
16
I >
~
~
~
L
+
~
R
+ ~
--
0
~
~
IJ
R >0
R
IJ
L
+
>
[
r ~
~.
~
Another way of playing the same pattern: R
[
~
Alfaia
>
I >
~
C
~
~
~
~
R >0
L
+
L
R
+
R 0
~
1;-
~
~
r-
~
~
I :II >
~
~ :II
~
:II
R >0
~.
IFl. +
[
L
+
R
+
~
--
~
~
~
R 0
~
:II L
+
~ :II
Surdo de Corte
II
I
~.
~
~.
1--
:II
95
Brazilian Rhythms tor Orum Set and Percussion
DRUM SET One of the snare drum patterns.
,It
' ,
~
'I
Example 1. R >
.. I;
so BO HH w/foot
R
R
L
J
J J
R
R >
;
0
R
L
R >
R
J J
;
10
R
R
L
J J
R >
;
0
R
L
J J :II
The repinique feel is added to the groove, at a slow tempo. ,,'-'~
D'I
\ .',
~
I,
Example 2. >
HH
so
II
BO
~
Ij
>
~ ~
~
~
j
>
~ Id
j
~
~ ~
>
j
~
~
j
~
~
j
~
~
:II
This one has a pop beat with the maracatu feel. Example 3. > HH
so
II
BO
~
Ij
~
~
~
j
~
~
J
j
~
~
~
~ Id
j
~
~ J
I
~
:II
This variation uses the small tom-tom. Example 4.
HH
MT
II
so
BO
~
Ij
~ J
~
j
:II
This variation uses a tom-tom and floor tom melody. Example 5. R >
Ride
MT~J fT
BO
HH w/foot
96
.. I~
L
L
j j
R
j
L
J
R >
~
L
j
R
~
R
Ij
L >
~
R
J
R
j
L
R >
J j
L
L
~
J :II
SECTION 6
SACRED MUSIC
FOLIA DE REIS Folia de Reis are musica l a nd choreographic gro ups that go to the streets, villages, and d irt roads from Decembe r 24 to january 6 each yea r, singing a nd dan cing ro mu sic of Catholi c o ri gin. T he
Fo li a de Reis custo m came [ 0 Brazil fr0111 Portugal, where it was a sec ular amuseme nt. In Brazi l, the Foli a de Reis acquired a more religio us character. Th e eve nt represe nts the journey tha t the three kin gs of the C hristian na ti vity sto ry made ro salute th e birth of j esus. Fo li a d e Reis gro ups go out very ca rl y in th e morning, visitin g ho mes in both the countrysid e and rhe cit y. The Folia d e Reis is made up of a gro up of twelve ro twenty o r mo re peo pl e, called (olioes . Tho ugh so me gro ups wea r everyday clothes, others usuall y \:vear a military-styl e unifo rm .
Th e basic in strum ents arc viola, sa nf6 na (cousin o f the accordion), choca lh o, tri angulo, pa nd eiro, ca ixa , a nd za bumba (bo l11bo ). Dependin g o n th e fina ncia l situ a ti o n o f the gro up, the instrum ents may also include cavaqu inh o, harmonica , p isto n (cornet ), violin, talll. n, and
rcco-reeo. Th e in st rume nts belong to the m estre, who o rgani zes the Fo li a. Th e instrum ents a rc
L1 sed onl y during the journey, after which th ey are stored in the mestre's hou se until the next yea r. Th e gro up goes to the front of each house and starts singin g to ask permi ss ion to co me in. They give their fla g, wh ich is adorned w ith reli gious mot ifs, to the owne r of the house. If the ho use has statues of sa ints o r crosses in it , the clown stays Otlt beca use the clown rep resents th e dev il. \Xlhen the g ro up co mes in, they go straight to the presepio (a sce nario represe nting Na ti vit y) and Start sin gi ng so ngs about th e three kings o r abo ut the birth of j es us. The po pulati o n beli eves that if they do no t all ow the group to co me in , th ey wi ll be punished by th e Santos Reis (the three kin gs). Fina ll y, t he gro up prays, then asks for d o na tions to cover the ex penses o f their trip, to help their church , and to raise fund s for the Sao Sebastiao fest iviti es, which happen o n Janu ary 20. Afte r the do natio ns, they leave si nging to say thanks and farewe ll. Th en, the g ro up moves o n to the
next ho use. Foli a de Rei s has other names, sll ch as Ternos de Rei s, Santos Reis, and Festa s de Reis. It I S traditi o nal in the states of Sao Paul o, Rio de Jan eiro, Esp irito Sa nto, Mi na s Ge rais, Bahi a, and Rio G rande d o Su i.
97
Brazilian Rhythms for Drum Set and Percussion
PERCUSSION ENSEMBLE On the audio CD, the zabumba plays slight variations over the pattern shown below. The rooster call on the CD recording represents the early morning hours, which is the time of the day that the group goes out playing and praying.
FOLIA DE REIS PERCUSSION ENSEMBLE
"71-~~. ,
'''iL '.
Snare drum
>
>
III J Pandeiro
II
0
J J
J J J J J J +
+
+
+ + + ,------
o
IJ J J J J
>
+
0
0
IJ.
,
:II
Chocalho >
II
IJ
Trifingulo
II
+
IJ
Surdo
>
II
IJ
>
J J J 0
0
+
J J J >
J J J
>
J J IJ 0
0
>
J J J
+
+
0
J J IJ.
J J :II 0
j
0
.r==J :II
, J J J :II
>
J J IJ
Zabumba
II
98
I
J
~
x
j
J J J
iJ
~
x
~
x
~
x
J J J :II
Sacred Music
DRUM SET The drum set is not used in the traditional ensemble. The beats below were created based on the traditional percussion ensemble feel. ,~1:\ ~
JI'
. .'
I. ,I
'€
Example 1. >
Ride
SO
II
FT
BO
Ij
:J1:
j
~J
>
j j
>
j J J
>
~
d:
J
I{
J J :II
Example 2.
R R L R R R L R
R R L R R R L R
R R L R R R L R
R R L R R R L R
III ~ ita a05d dI~ ita 50 ,d dI~ ita d~ ita dI~ ita 50 ,d ~ I
SO BO HH w/root
Example 3.
Ride HT
SO BO
II
I
j
j d
j J
j j
j
dj
j
j
,
J
~
~
:II
99
Brazilian Rhythms for Drum Set and Percussion
CARIMBO Carimb6, also called carimb6 praiano, is a rhythm born in the north of Brazil on the coastal side of the state of Para. It originated from the art of the Tupinambas Indians, and was enhanced by the arrival of the African slaves. Today the music is performed in the coastal areas of Para and Maranhao states, the Maraj6 island, and states across the Amazon River. It is the traditional music of the fishermen from the area. The main instruments are two drums, both of which are made of a hollow tree trunk and having only a single skin drum head. One is high pitched, the other, low pitched. Curimb6 is the name used for the big drum. From this drum name came carimb6 (spelled with an "a"). Carimb6 is the name of the dance, the rhythm, and the music. When I'm referring to the drum, I will use the name curimb6, spelled with a "u." When I'm referring to the dance, rhythm, or music, I will use carimb6. The carimb6 rhythm was also influenced by the batuque rhythm. The descendants of the African slaves developed it in the nineteenth century. The drums used to be played during the night. But because the sounds of the curimb6 drums are so deep and loud, a law was established in 1880 in the city of Belem prohibiting playing the curimb6 or any other instrument that could disturb the peace of the night. Traditional carimb6 instrumentation was percussion, flute, and a banjo. The traditional percussion instruments are the- curimb6 (drum), xerere (pandeiro without heads, much like the American tambourine), the milheiro (a can with corn seeds inside), maracas, xeque-xeque, reco-reco, and onc;a (a big cuka). Modern instrumentation may include a saxophone, marimba, flute, and a stringed instrument such as a banjo or 12-string acoustic guitar.
PERCUSSION ENSEMBLE Percussion instruments used by the traditional carimb6 groups vary from region to region. The following are examples of carimb6 percussion ensembles: two curimb6s (big drums) maraca milheiro triangles snare drum pauzinhos (sticksr~ xerere (skinless pandeiro)
OR
two curimb6s reco-reco ganza xeque-xeque xerere pauzinhos::·
*Played on the shell of the curimb6 drums. (For the recording of the curimb6s part, I laid two tantans on the floor together and used a fiber-skin drum head to simulate the real skin heads. Tantans are a modern version of the surdo.) I also used a timbal to play the parr of the cavaquinho to enhance the sound. (A timbal is like a timba, made of wood or fiberglass, used frequently by music groups from Bahia.)
100
Sacred Music
CARIMBO PERCUSSION ENSEMBLE
~~
J Triangulo
II Maraca, reco-reco, milheiro, or ganza
II
+
0
+
+
0
0
+
+
0
0
+
+
0
0
+
I J J J J J J J J IJ J J J J J J J :II >
>
>
>
I J J J J J J J J IJ J J J J J J J :II
Curimb61
II
0
R
L
I
~
lI-
L
~
~
R > ~
lI-
R
L
~
~
L
R
L
IlI-
~
~
~
R > ~
lI-
L
R
~
~
:II
Curimb62
IIEJ Snare drum
II
Pauzinhos
II
R
IJ
J L
R
L >
R
R
L >
R
L
R
R
:II
J L
R
L >
R
L
R
~
~
L >
R
L
R
i J J J J J J J J IJ J J J J J J J :II R >
I~
L
~
~
~
R
L
R >
IJ
~
R
L
~
~
:II
101
Brazilian Rhythms for Drum Set and Percussion
DRUM SET The drum set is not a traditional instrument for the carimb6 groups. However, some groups in Para use it with the saxophone, guitar, and bass to create a contemporary carimb6 feel. The pattern below is based on the sound of the curimb6 percussion ensemble.
;
>'-~
,71~
~
Example 1. R
HH HT
so
II
FI' BO
HH w/fool
7f
~'~ .
Id
R
j
L
j
R
j
R
d
L
J
R >
~
L
J
L
is
R
J
]
R
R
R
L
J J
~
~
~
R
R
L
R
>
>
:II
This pattern uses the double stroke of the snare pattern on the floor tom.
,.;~
Example 2. R
L
R
L
>
so
FJ' BO HH w/fool
II
R
R
>
>
L
R
R
>
>
IU J 0 J U j 0 j
R
L
L
>
IU J 0 J U j
0
J :II
RH double stroke on the floor tom
This is a more straight-ahead groove. Example 3. 0
0
HH
so BO
II
Ej
~
~
~ j
~
0
0
~
~
] is
~
~
~ ~ :II
j
Finally, a paradiddle-and-rest variation. , 'll:'\
,J/:
Example 4. R
so
FI' BO
102
II
Ed
L
R
R
~
~
J
L
R
R
L
~
J
~
,i
R
L
R
IU ~ ~
R
L
J
~
R
R
L
J
~
i
:II
Conclusion
CONCLUSION I hope these studies have contributed to improving your overall rhythmic knowledge of Brazilian music, and have given you ideas to apply to the style of music you play. Remember to try always to be original and experiment with the rhythms-but don't forget the essence and tradition of them. I wish you all the best.
103
Brazilian Rhythms for Drum Set and Percussion
FOR FURTHER LISTENING Samba
Can~ao
Bossa Nova
Samba
Partido Alto
Song
Composer
"Encanto da Paisagem" "A Volta do Boemio" "As Rosas Nao Falam" "Boneca de Pano" "Alibi" "Estrada do Sol" "Born Dia" "Folha Morta" "Nao Quero Mais Amar a Ninguem"
Nelson Sargento Nelson Gonc;alves Cartola Assis Valente Djavan A.C. Jobim/Dolores Duran Herivelto MartinslAldo Cabral Ary Barroso
"Chega de Saudade" ("No More Blues") "Girl from Ipanema" "Desafinado" "Samba de Verao" "Saudade da Bahia" "Corcovado" "Coisa Mais Linda" "Insensatez" "Manha de Carnaval" "0 Barquinho"
Cacha~a/Ze
da Zilda
A. C. Jobim/Vinicius de Moraes A. C. Jobim/Vinicius de Moraes A. C. Jobim/Newto Mendonc;a Marcos Valle/Paulo Sergio Valle Dorival Caymmi A.C. Jobim Carlos Lyra/Vinicius de Moraes A. C. Jobim/Vinicius de Moraes Luiz Bonfa Ronaldo Boscoli/Roberto Menescal
"S6 Dan~o Samba" "Serrado" "Minha Irma" "Bala com Bala" "Canta, Canta Minha Gete" "Errei Sim" "Na Baixa do Sapateiro" "Falsa Baiana" "Onde 0 Brasil Aprendeu a Liberdade"
Tom Jobim/Vinicius de Moraes Djavan Djavan Joao Bosco Martinho da Vila Ataulfo Alves Ary Barroso Geraldo Pereira (singer: Gal Costa)
"Menina-mo~a"
Martinho da Vila Azymuth Arlindo Cruz e Sombrinha (Singer: Beth Carvalho) Noel Rosa/Joao Lima Aniceto do Imperio Paulinho da Violal Elton Medeiros Martinho da Vila
"Partido Alto" "Partido Alto Mora no Meu Corac;ao" "De Bebado" "Partido Alto" "Moema, Morenou" "Pra Que Dinheiro?"
104
Cartola/C.
Martinho da Vila
For Further Listening
Afro-Samba
"Canto de Ossanha" "Odile-Odila" "Ben~a Negro" "Consola~ao"
Baden Powell/Vinicius de Moraes Martinho da Vila/Joao Bosco Agepe Vinlcius de Moraes/Baden Powell
Samba Rural
"Balde de Amor"
Timbauba
Samba 3/4
"Cravo e Canela" "Toucan's Dance" "Wamba" "III Ato"
Joao Bosco Dori Caymmi Airto Moreira & Flora Purim Ze Carlos
Samba 5/8
"Five Four"
Flora Purim
Samba 7/4
"Mixing" "Tombo in 7/4" "Tacho (Mixing Pot)"
Airto Moreira Airto Moreira Hermeto Pascoal
Samba Funk
"Flor de Maracuja"
Joao Donato/Lysias Eni6 (Singer: Gail Costa) Edison Trindade (Singer: Tim Maia)
"Gostana Tanto de Voce"
Baiao
"0 Baiao" "Asa Branca" "OOvo" "Forro do Campeao" "Ponteio" "Olho D'Agua" "Baiao da Penha" "Kalu" "Indian Summer"
"Loro"
Jackson do Pandeiro/R. Cavalcanti Atonio Barros (Singer: Gilberto Gil) Egberto Gismonti
Coco
"Coco Social" "La Vern 0 Coco" "Coco Lunar"
Rostil Cavalcanti Jaime SodrelW. Cafe N ana Vasconcelos
Calango
"Calago da Lacraia" "Balan~o do Galango" "Calango Dela" "Calango"
Luiz Gonzaga/J. Portela Luiz Gonzaga/J. Portela Celso Adolfo Etnopop
Xaxado
"Sebastiana" "Oia Eu Aqui de Novo"
Luiz Gonzaga Luz Gonzaga/H. Teixeira Hermeto Pascoal Nene Edu Lobo Pau Brasil Guio de Morais/David Nasser (Singer: Gilberto Gil) Humberto Teixeira Alberto Netto
105
Brazilian Rhythms tor Drum Set and Percussion
March a
"Abre Alas" "Teu Cabelo Nao Nega" "Mamae Eu Quero" "A J ardineira"
Chiquinha Gonzaga Irmaos Valen~a/Lamartine Babo Vicente Paiva/] araraca Humberto Porto/Benedito Silva
Marcha Rancho
"Pastorinhas" "Os Rouxin6is" "Estao Voltando as Flores" "Mascara Negra" "Bandeira Branca"
Noel Rosa/]oao de Barro Lamartine Babo Paulo Soledade Ze-Keti/Pereira Matos Max Nunes/Laercio Alves
Frevo
"Frevo Mulher" "Festa do Interior" "Frevo" "Kicking Cans"
Alceu Valen~a Moraes Moreira/Abel Silva Egberto Gismonti Dory Caymmi
Afoxe
"Ifa Urn Canto Para Subir" "Sina" "Guerra no Mar" "Urn Canto de Afoxe" "Para 0 Bloco do lie" "Toda Menina Baiana"
Veve Calasas!w. Queiroz (Singer: Margareth Menezes) Djavan Maria Bethania Caetano Veloso Caetano Veloso Gilberto Gil
Maracatu
"Maracatu Colonial" "Maracatu" "Science" "The Cry and the Smile" "Pato Preto" (intro) "Maracatu Elegante"
Alceu Valen~a Egberto Gismonti N ana Vasconcelos/V. Cantua ria Nando Lauria Tom Jobim Jose Prates
Folia de Reis
"Reis da Lapinha" "Noite de Santo Reis"
Reis de Sao Sebastiao de Di6 Elomar
Carimb6
"No Canto do Carimb6"
Humberto "Ninito" dos Santos Monteiro Verequete Verequete Verequete Grupo Uirapuru Fruta Quente
"0 Carimb6 Nao Morreu" "Chama Verequete" "xc> Peru" "Roda Piao" "Canto de Carimb6"
106
For Further Listening
COMPLETE RECORDINGS Djavan Pau Brasil Milton Banana Many Artists Many Artists Nana Vasconcelos Baden Powell Tamba 4 Tom Canta Vinkius Egberto Gismonti Airto Moreira Hermeto Pascoal Hermeto Pascoal Claudio Roditi Escolas de Samba Chico Buarque Gilberto Gil Milton Nascimento Joao Gilberto Dori Caymmi Beth Carvalho Beth Carvalho
Live (Contemporary Brazilian Music) Babel (Brazilian Jazz) Sambas de Bossa (Samba and Bossa Novas) Batucada: The Sound of the Favelas, Mr. Bongo Records (Batucada) Afro Brasil, Verve Records (Afoxe /Afro-samba) Contamina~ao (Contemporary Percussion) Os Afro-sambas (Sambas) We and the Sea (Brazilian Jazz) A.C. Jobim (Bossa Nova) Sanfona (Brazilian Jazz) The Colors of Life (Brazilian Jazz) Lagoa da Canoa (Brazilian Jazz) Dan~a das Cabe~as (Brazilian Jazz) Samba Manhattan Style (Brazilian Jazz) Desfile das Escolas de Samba 2001 (Samba Schools) Almanaque (Contemporary Brazilian Music) Acoustic (Contemporary Brazilian Music) Clube da Esquina Joao Voz e Violao Brazilian Serenata Nos Botequins da Vida Beth Carvalho no Pagode
CD CREDITS Bossa Nova
Alfredo Cardim Jose Pienasola Alberto Netto
plano bass ganzel
Baiao
Joao Marcos Gustavo Amarante Al berto Netto
piano solo bass percussion, piano
Maracatu (CD intro)
Alon Iavinai Oscar Stagnaro Al berto Netto
piano bass drums and percussion
Samba
Juninho Edson Sula da Silva
cavaquinho surdo pandeiro
All drum set examples were performed by Alberto Netto.
107
Brazilian Rhythms for Drum Set and Percussion
AUDIO PERCUSSION EXAMPLES Alberto Netto
repinique, caixa, tarol, tamborim, reco-reco, ganza, surdo corte
Sula da Silva
pandeiro, agogo, tarol, tamborim, surdo marca~ao, surdo de res posta
Duro
cuica
Batucada Example 2
Alberto Netto
repinique, caixa, tarol, tamborim, reco-reco, ganza, surdos: marca~ao, resposta e corte
Bossa Nova
Alberto Netto
timba, tamborim, small ganza, surdo
Afro-Samba 2/4
Alberto Netto
Surdo de marca~ao, ganza, agogo, congas, tamborim
Afro-Samba 6/8
Alberto Netto
Congas, agogo, pandeiro, caxixi
Partido Alto
Alberto Netto
Surdo de marca~ao, surdo de corte, pandeiro, ganza, tamborim, cuica, agogo, prato de lou~a
Verena Sampaio
afoxe
BaHio
Alberto Netto
zabumba, triangle, ganza, agogo, caixa, pandeiro
Xaxado
Alberto Netto
zabumba, triangle, ganza, agogo, caixa, pandeiro
Coco
Al berto Netto
zabumba, triangle, ganza, agogo, caixa, pandeiro, claps
Marcha and Marcha Rancho
Alberto Netto
reco-reco, ganza, agogo, caixa, pandeiro, tamborim on marcha rancho, caixa, surdos
Frevo
Alberto Netto
caixa, pandeiro, surdo, surdo de resposta
Afoxe
Alberto Netto
ganza, surdo, claps, afoxe, claps
Sula da Silva
congas, xeque, agogo, claps
Alberto Netto
zabumba, triangle, ganza, agogo, caixa, surdo
Verena Sampaio
afoxe
Folia de Reis
Alberto Netto
zabumba, triangle, ganza, agogo, caixa, pandeiro, surdo, chocalho
Calango
Alberto Netto
zabumba, triangle, ganza, agogo, caixa, pandeiro, surdo, caba~a
Carimb6
Alberto Netto
curimb6, triangle, ganza, caixa, pancleiro, on~a, reco-reco
Sula da Silva
tantans
Batucada Example 1
Maracatu
108
About the Author
ABOUT TH E AUTHOR
Drulllmer and perclI ss io ni st Alberto Netto is a Braz ili an nat ive. As a yo uth, he perfo rm ed in sa mba g ro ups, batucada re unions, and escola de sa mba rehea rsa ls o n the streets of hi s ho metow n, Sa ntos. By the age o f nineteen, he was play in g pro fess iona ll y a nd work ing as a studio mus ic ia n in Santos a nd Sao Paul o. Alberto has morc than twe nty yea rs experien ce as a perfo rmi ng and record in g musician. He has perfo rm ed a nd presented clini cs o n Braz ili a n
rhythm s in Euro pe, So uth America, rhe United Stares, and Ca nada. Alberto Netto has perfo rmed andlo r reco rded wit h Cla udio Roditti, Aaron Scott, Sk ip H add en, Matt John son, Alai n l'vlall et, Aa ro n Goldberg, Jimm y G ree ne, Oscar Stagnaro, Deborah Franciose, Brasil eiro Band, Lui z Arruda Paes Big Band , Chi co Go mes, Dav id Costa, and m 3n y others. Alberto's first so lo a lbum Indian Sum mer feat ures fO llr of hi s ow n co mpositi o ns. He grad uated from the Be rkl ee Col lege of M usic (1993 ), where he studied jazz and co mpos iti o n. He was an assista nt professor in th e pe rcli ss io n department at Berklee a nd has bee n o n th e faculty
of t he In te rn at iona l World Percuss io n Fes ti va l at Berklee for the pa st fo ur yea rs.
109
Brazilian Rhythms tor Drum Set and Percussion
GLOSSARY OF BRAZILIAN PORTUGUESE TERMS abre-alas. 1. A sign or parade car with the escola de samba logo and theme printed on it. It also contains acknowledgments addressed to people and authorities. 2. The name given to the group of people carrying the sign. adufe or adufo. A kind of square pandeiro without the jingles. Played with the fingers, it is used on styles such as samba rural, Folia de Reis, and congadas. afoxe. 1. A rhythm. 2. A percussion instrument made out of gourd, usually coconut, with a wood handle. Also afuxe. 3. A musical style. 4. The popular Afro-Brazilian groups that parade in Bahia during Carnaval festivities. Afro-samba. Term used to describe the African-influenced samba style. Afro-samba originated in Afro-Brazilian religious music. agogo. Afro-Brazilian folkloric instrument made out of iron or zinc. It has two bells welded together by a flexible metal rod, and is played with a metal stick. In the northeast, there is a single-bell version called a gongue. Very common in all styles of sambas and many Afro-Brazilian music styles, including the Candomble and the capoeira. ala. Wing or section of an escola de samba. ala das Baianas. A required section (ala) during the parade of each escola de samba. Consists of a group of women dressed in white traditional Bahian costumes, performing steps and turns together, dancing slow-paced steps to the samba rhythm. Apito. Whistle commonly used in the batucada. atabaque. Single-headed, folkloric instrument similar to the conga drums. First introduced in Brazil by Bantu and Sudanese slaves. The Candomble uses a set of three atabaques: rum (largest), rumpi (mid-sized), and Ie (smallest). In Bahia, there are also Yoruba atabaques: the small-sized are called batas, and the bigger ones, ilus or bata-cotos. Also ronco, engoma, ingomba, perenga, mangongue. axe. A style of contemporary music in Bahia. bacalhau. Bamboo stick used to play the zabumba. Literally, the cod fish. baianas. Women from Bahia, a northeastern state in Brazil. baiao. One of the most well-known musical styles in Brazil. It is most common in the northeastern states of Paraiba, Pernambuco, Bahia, and Sergipe. The name also refers to the section played by the acoustic guitars in the canto do desafio style. Bantus. An individual of any several African tribes from South Africa. The slaves known in Brazil as Angolas, Cabindas Benguelas, Congas, and Moc;anbique. barzinhos. Brazilian pubs.
110
Glossary of Brazilian Portuguese Terms
bateria. The drum section of an escola de samba; also the name given to the drum set. batuque. Generic name given to Afro-Brazilian dances characterized by singing and percussion playing. batuqueiros. A percussion player of the batucada ensemble. Also ritmistas. berimbau de barriga. Main instrument from the capoeira percussion ensemble. It is a wire-strung wooden bow. A coconut gourd attached to the lower end of the bow acts as the resonator. The wire is played by a thin wooden stick that is held by the right hand. It produces percussive sounds while the left hand holds the bow and also a coin or small stone against the wire to produce higher sounds. The left hand also moves the opening of the gourd toward and away from the body to produce open and closed tones. The right hand holds the caxixi, which is a kind of a basket shaker. blocos de sambistas. Samba blocks, as they were called in the earlier stages of the evolution of the escolas de samba. boates. Brazilian night clubs. bossa nova. Literally, "a new way of doing something." A style of samba that developed in the 1950s in Rio de Janeiro, characterized by a slow samba rhythm, with more complex harmony and lyrics. Bumba Meu Boi. A comic dramatic dance. A popular celebration. butequins. Brazilian pubs. caba~a.
Large gourd filled with pebbles or seeds. The head (round part of the gourd) has plastic beads woven around it with nylon string or chord.
caboc1inhos. Generic name of groups of indigenous dancers who perform during Carnaval. Caboclinhos are most common in the states of Paraiba, Rio Grande do Norte, Pernambuco, Alagoas, and Minas Gerais. caixa. A snare drum. Also caixa de guerra. caixeta. Wood block or temple block. calango. A rhythm and dance form practiced in the state of Minas Gerais, originally from cities including Bicas, Barbacena, and Caratinga. calunga. Each of the two dolls held by the maracatu dancers. Candomble. An Afro-Brazilian cult or religious celebration of Jeje-Nagu and Bantu origin. Cangaceiros. Members of gangs active in northeastern Brazil in the 1920s and 1930s. canto do desafio. Dwelling singing, usually without music. It came from Europe, brought to Brazil by the Portuguese. It is a poetic contest/tournament between two singers, who measure their poetic talents by improvising questions and answers made by each of them. The context ends when one is not able to respond to the rhyming poetry made by the other.
111
Brazi\ian Rhythms tor Drum Set and Percussion
canza. Bahian name for a shaker. capoeira. A martial art brought to Brazil by the Bantu slaves from Angola. In the twentieth century, it became a choreographed dance. caracaxa. Denomination of percussion instruments such as the maracas, ganzas, and reco-recos in Bahia. caramanchao. One of the original sections of an escola de samba. It was a place reserved for the escola's special guests. carimb6 or carimb6 Praiano. Musical style from the state of Para. Carnaval. Originally the Entrudo, a Catholic religious celebration introduced in Brazil by the Portuguese. It takes place during the four days prior to Ash Wednesday, which marks the beginning of Lent, a period of fasting and abstinence. caterete. Dance and song style of indigenous origin, present in Sao Paulo, Rio de Janeiro, Minas Gerais, Mato Grosso, and many northeastern states. cavaquinho. Small, four-stringed Brazilian guitar used in many forms of samba. caxixi. A small, woven basket shaker filled with beads or small stones. chapinhas. Type of shaker used in the escolas de samba. It has sometimes hundred of jingles, which produce loud, high-frequency tones. chocalho. Generic name of several shakers, including metal or wood canister shakers, basket shakers, and wooden-handle shakers. All are filled with seeds or small stones. chorinho. Brazilian music style created in the late nineteenth century in Rio de Janeiro. It combined Brazilian and African rhythms with melodies inspired by European waltzes, polkas, mazurkas, and classical forms. The music is typically in 2/4, and is characterized by sixteenth-note melodic phrases with sentimental feel. Also choro. ciranda. Several types of children's dances performed in Brazil. clave. Rhythmic pattern and percussion instrument. The clave is found in Cuban music. coco. Musical style and dance originally from the state of Paraiba. Similar to baiao and xaxado. comissao de frente. Section of the escola de samba composed of the important members of the escola. concentra~ao.
The setup area for the Carnaval parades, and the place where the escola stays before the parade. Also recuo or "box."
Congadas. Dramatic dances that happen between Christmas and February. They originated in Brazil and have African influences. cordoes. Cordoned-off blocks. Predecessors to the escolas de samba.
112
Glossary of Brazilian Portuguese Terms
cufca. A metal-cylinder percussion instrument featuring a drum head on one end with a bamboo stick attached to its center. Sound is produced by the friction created by rubbing along the stick. curimbo. Drums of the carimb6. cururu. Type of dance related to religious celebrations. Dois de Ouro. One of the first escolas de samba in Rio. dor-de-cotovelo. Literally, suffering because of love. \Vas first used in reference to the samba can<;ao musical style. enredo. Song theme of an escola de samba. Entrudo. Portuguese play that was the origin of the Brazilian Carnaval. The word means "start" or "entrance." Origin of Carnaval. Name given by Catholic church to the rituals of abstinence (quareama). escolas de samba. Samba schools. Organized groups of up to three thousand people that parade in the streets of Brazil during the Carnaval. festas. Celebrations. folia de reis. Musical religious group and song style of Catholic origin. forro. Abbreviation of forrobod6, an expression from the nineteenth century that referred to places where a particular type of music and dancing took place. fossa. See dor-de-cotovelo. frevo. Music and dance originated from Recife, Pernambuco. frigideira. Frying pan used as an instrument of the batucada. fundo de quintal. Back yard. A type of party where people gather to play the samba. gafieira. A ballroom-dance style of samba. Similar to forro. ganzei. Type of a metal canister shaker filled with lead or pebbles. gongue. Single-bell agogo. jongo. Afro-Brazilian dance and song style similar to samba. lambada. Brazilian dance and song style similar to the merengue. maceta. The Brazilian name for the surdo stick.
113
Brazilian Rhythms for Drum Set and Percussion
macumba. Religious cult derived from the Candomble. maraca. A wooden shaker of indigenous origin, consisting of a seed-filled gourd attached to one end of a wooden handle. Also chocalho de madeira. maracana. Another name of the surdo the marca~ao. Maracana, in Rio, is the biggest soccer stadium in the world. maracatu. A Brazilian song style and also a semi-religious group that parades in the streets during Carnaval. Originated in Recife, Pernambuco. marcha. Literally, a march. A song style played during Carnaval in Brazil. maxixe. An urban dance and music style originated in Rio de Janeiro around 1875. mestre da bateria. Master or conductor of the drum section of an escola de samba. mestre-sala and porta bandeiras. The dance master and an escola's female flag carrier. milheiro. A type of a shaker. A can with corn kernels inside. morros. Hills. Slums. na~oes.
Maracatu groups.
Orisha Exu. One of the Candomble gods (orixas). orixas. Candomble gods. Pade Exu. An indoor religious ritual performed before the afoxes get out to the streets during the Carnaval. pagode. A style of samba. pai de todos. Another name for the surdo de
marca~ao.
pandeiro. Percussion instrument used in many styles of Brazilian music. paradinhas. Rhythm breaks performed by the bateria of the escolas de samba. parraxaxa. War chant of the Cangaceiros gang. partido alto. A style of samba. Literally, "high class" or "higher P':lrty." passistas. Samba dancers. pauzinhos. Wooden sticks.
114
Glossary of Brazilian Portuguese Terms
Pedra Sal. Name of an early ranchos carnavalescos (Carnaval block, and early predecessor to escola de samba). piano de cuia. Another name for the percussion instrument afoxe. presepio. Christian nativity scene built in homes during Christmastime. puxador. Singer of an escola de samba. querequexe. A singing style originated by the Cangaceiros, who were members of several gangs of robbers that acted in the northeast of Brazil in the 1940s. raiadores. Dancers. ranchos. Ranch blocks. reco-reco. Brazilian instrument similar to a scratcher or guiro. recuo. Place where the escolas stay before the parade begins. repinique. The leading instrument of the batucada. Also repique and surdo de repique. ritmistas. Percussionists. Also batuqueiros. samba. The most widely known Brazilian rhythm and song style. samba batucada. Style of samba using only percussion instruments. samba can~ao. Style of samba in which the melodic character has more emphasis than the syncopated rhythm. The lyrics are very romantic and the rhythmic pulse is slow, similar to the bolero. samba cruzado. Literally, samba that crosses. A term used by drummers to refer to the way that the left arm crosses over the right when playing the drum set. samba de breque. Samba style that has breaks (breques) between sections. The singer uses the breaks to qtake comments, usually humorous. samba de Carnaval. Samba style created exclusively for the Carnaval. samba de quadra. Samba style. Batucada. samba enredo. Song theme of an escola de samba. samba exalta~ao. Samba style consisting of long melodies and lyrics of patriotic character. An orchestrated samba. samba funk. Samba with a backbeat. Used in many pop styles. samba nos pratos. Samba on cymbals. samba rural. Term refers to the way the samba is played in the countryside of Brazil. A mix of baHio and samba.
115
Brazilian Rhythms for Drum Set and Percussion
samba tradicional. Traditionalists used this term to describe the pure and simple samba. sarnbalan~o.
Samba style with a disco feel.
sertao. Dry countryside and region in northeastern Brazil. surdo. Large drum that produces low percussive tones in all styles of samba. Comes in three sizes. The word means "deaf." surdo de corte. High-tone smaller surdo. Also surdo de terceira and centrador. surdo de rnarca~ao. Largest surdo. Accents beat 2 of the 2/4 samba measure. Also surdo de primeira. surdo de resposta. Literally, response surdo. The surdo that plays on beat 1 of the 2/4 measure. It is a mid-sized surdo. Also surdo de resposta or surdo de segunda. tarnborirn. Brazilian percussion instrument that sustains the groove and plays several different rhythmic figures in the batucada. tantan. Modern version of the surdo. tarois. The piccolo snare drums of the bateria. tias. Aunts. Older women from Bahia who originally supported samba and held fundo de quintal parties in the 1920s and 1930s-and who still do today. tirnba. Single-headed percussion instrument. Also tambora. triangulo. Triangle percussion instrument. Urnbanda. Variation of Macumba and Candomble. vai e vern. Forward and backward movements. versador. The composer and singer of samba choruses. virada. Literally, turning. A technique for playing the tamborim, in which the left hand turns to meet the upstroke of the stick. xaxado. A musical style from northeastern Brazil. xequere. Percussion instrument. Also xaquere or xere. xote. A song style of the forro. A rhythm coming from northeastern Brazil. zaburnha. Type of bass drum used in baiao, coco, and maracatu, among others.
ze Pereira. Marcha song style. 116
Bibliography
BIBLIOGRAPHY Albin, Ricardo Cravo. MPB: A Hist6ria de um Seculo. Rio de Janeiro, Brazil: Funarte, 1997. de Alencar, Edigar. Claridade e Sombra na Musica do Povo. Rio de Janeiro, Brazil: Francisco Alves, 1983. Barbosa, Orestes. Samba-Sua Hist6ria, Seus Poetas, Seus Musicos e Seus Cantores. Rio de Janeiro, Brazil: Funarte, 1978. Caribe. as Deuses Africanos no CandombLe da Bahia. Salvador, Brazil: Bigraf, 1993. Da Anuncia9ao, Luiz Almeida. A Percussiio dos Ritmos Brasileiros, Caderno 1: a Berimbau. Rio de Janeiro, Brazil: Edi9ao Europa, 1990 Echeverria, Regina. Furaciio Elis. Rio de Janeiro, Brazil: Nordica LTDA, 1985. Galvao, Zequinha. Pratica de Bateria. Rio de Janeiro, Brazil: Lumiar, 1998. Hadden, Skip. The Beat, The Body & The Brain. Miami, Florida: Beam Me Up Music, Inc.! Belwin, Inc., 1993. de Mello, Jose Eduardo Homem. Musica PopuLar Brasileira. Sao Paulo, Brasil: Melhoramentos, 1976 Publifolha. Enciclopedja da Musica Popular Brasileira: PopuLar Erudita e FoLcl6rica. Sao Paulo, Brasil: Art Editora, 1998. Ribas D'Avila, Nicia. Shaffer, Kay.
a
a Samba em Percussoes. Santos, Brasil: A Tribuna de Santos LTDA, 1990.
Berimbau-de-barriga e seus Toques. Rio de Janeiro, Brazil: Funarte, 1977.
Souza, Tarik, Ary Vasconcelos, Rita Caurio, Roberto M. Moura, Joao Maximo, Roberto Muggiati, Luis Carlos Mansur, Turibio Santos, and Affonso R. De Sant'anna. Brasil Musical: Viagem pelos Sons e Ritmos PopuLares. Rio de Janeiro, Brazil: Art Bureau, 1988. da Tavola, Artur. 40 Anos de Bossa Nova. Rio de Janeiro, Brazil: Sextante, 1988.
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accuracy. and endurance.
Brazilian Rhythms for Drum Set and Percussion By Alberto Netto
Rudiment Grooves for Drum Set
__
By Rick Considine
:-:-:=:-:-C:-:c1 ISBN: 0-87639-009-2 Hl: 5044B001 BOOKlCo
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DRUH ....... SET
ISBN: 0-634-00652-5 Hl: 50449429 BOOK/C~
S14.95
519.95
Spice up your percussion rhythms and grooves! learn to ~==~~~ play the most popular and influential Brazilian rhythms 01
ISBN: 0-634-02143-5 HL.: 50449507
Turn those standard 26 rudiments you learned into mind-blm'"ling grooves, fills, and solos! This book sho'NS you how to apply the rudiments to the drum set in all styles of music. Fifty illustrated grooves are reinforced with the accompanying CD.
BOOKICD 529.95
both traditional percussion instruments and the drum set The included CD helps both the novice and experienced percussionist perfect the unmistakable rhythmic language of Brazilian music.
The Reading Drummer: Second Edition By Dave Vase
Berklee Practice Method: Drum Set
t
By Ron Savage and Casey Scheuerell
Improve your intuitive sense of timing and improvisation to make your band better and tighter. Play along with the included CD and jam with the Berklee faculty band. The Berklee Practice Method Series is also available for guitar; trumpet, keyboard, bass, alto sax, tenor sax, trombone, violin, and VIbraphone.
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--,~=:::=====.j ISBN: 0-634-02602-X Hl: 50449513 BOOKICD S14.95
-=~~~~~ ISBN: 0-634-00961-3 Hl: 50449458
If you want 10 take your drumming to the next level, you must know hcr.v to read drum music! learn the basics of reading drum notation.
BOOK
S9.95
Basic Afro-Cuban Rhythms DV Featuring Ricardo Monzon
Instant Drum Set By Ron Savage Stop making noise and start making music-right away. Pop in the included CD and start jamming (slowly. but surely) as you work your way through rock, funk, and jazz beats.
ISBN: 0-87639-030-0 HL.: 50448012
DVD S19.95
learn the classc rhythms of Afro-Cuban music \'"Iith master percuS5'onist and Berklee professor Monz6n. learn the patterns created and instruments used thi form the beating heart of Afro-Cuban music on clav conga, timbale, bongo, and guiro, among others Running time: 55 minutes
Shred Metal Chop Builder Featuring Joe Stump Improve your technique, increase your speed, and take your guitar chops into the stratosphere. Running time: 45 minutes $19.95 HL: 50448015 ISBN : 0-87639-033-5
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JlUII:DING 0URMUSIC • C~ER
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Jim Kelly's Guitar Workshop
======
Improve your playing by studying and emulating the techniques of great players like Jeff Beck, Stevie Ray Vaughn, Pat Metheny and more. Running time: 78 minutes $29.95 HL: 00320168 ISBN: 0-634-00865-X
Building Your Music Career
Basic Afro-Cuban Rhythms
Featuring David Rosenthal
Featuring Ricardo Monzon
Get detailed, practica l advice on how to network, adapt to different musical settings, take full advantage of opportunities, and be a successful musician. Running time: 36 minutes $19.95 HL: 50448013 ISBN: 0-87639-031-9
Learn how to play and practice the classic rhythms of the Afro-Cuban tradition . Running time: 55 minutes $19.95 HL: 50448012 ISBN: 0-87639-030-0
Irntaille Technique: Art of the DJ
Modal Voicing Techniques Featuring Rick Peckham Bring new colors and voicings to your p layi ng with inventive demonstrations that w ill expand yo ur musical vocabulary, no matter what instrument you play. Running time: 57 minutes $19.95 HL: 50448016 ISBN: 0-87639-034-3
Featuring Stephen Webber Learn to play the turntable like your favorite DJs and create your own style! Running time: 2 hou rs
..t.!:it&1 $24.95 HL: 50448025 ISBN: 0-87639-038-6
Vocal Practice for Performance
~1l!!!IiiIl_'" Beginning Improvisation:
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Motivic Development
Featuring Donna McElroy
Featuring Ed Tomassi
Sing with more power and passion! Learn simple exercises to increase vocal strength and endurance. Running time: 51 minutes
Build compelling improvisations from just a few notes w ith a method that's easy to understand and practice. Running time:.33 minutes $19.95 HL: 50448014 ISBN: 0-87639-032-7
Rockin' Grooves Featuring Danny Morris Learn the techniques to help anchor your band w ith a solid foundation of bass lines, chord progressions and rhythmic and harmonic variations. Running time: 32 minutes $19.95 HL: 50448019 ISBN: 0-87639-037-8
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$19.95 HL: 50448017 ISBN: 0-87639-035-1
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Berklee Press DVDs, videos and books are available at music stores, book stores, or www.berkleepress.com . 866-BERKLEE for a free catalOg~
•
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Career Fuel for working musicians .om
Online music school
Music career center
Berkleemusic is the new anytime, anywhere online destination where musicians
Choose from 5 learning streams : Production, Music Business, Writing, Education and
This online crossroads is a 24 by
can find jobs and gigs, study with Berklee professors and
Performance. Designed for musicians, educators and working
network with other music
professionals, courses run from
jobs and gigs, access ing career development tools and
industry professionals .
3 t012 weeks on a six-semester
networking with like-minded
annual calendar.
individuals worldwide.
7 home for monitoring industry buzz, managing personal and professional contacts, finding
capturing techniques
RercusslOn
RercusslOn
I I
•
ceremonies traaitions incluaea instruments
tlie streets
u.s. $29.95 ISBN 0-634-02143-5
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