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Construction of Jazz Drum Vocabulary Based O N B Razilian Rhythms

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Construction of Jazz Drum Vocabulary Based O N B Razilian Rhythms Construction of jazz drum vocabulary based o n B razilian rhythms. Luis Mora Matus Jazz Drums 05-03-2012 1 Construction of jazz drum vocabulary based o n B razilian rhythms. Name: Luis Daniel Mora Matus Date:05-03-2012 Course: Jazz Drums School Year: 2011/2012 Guide: Jarmo Hoogendijk 2 Index: 1.- Introduction: …. 4 2.- History of Brazilian Music: …. 5 3.- The Rhythms: …. 7 3.1. Samba: .... 7 3.2. Frevo: …. 14 3.3. Maracatu: …. 16 4.- Transcriptions: …. 20 4.1 Samba: …. 20 4.2 Maracatu: …. 24 4.3 Frevo: …. 26 5.- Adaptation to the Drum Set: …. 28 5.1 Samba: …. 28 5.2 Maracatu: …. 31 5.3 Frevo: …. 32 6.- Building a Jazz Phrase: …. 33 6.1 Samba: …. 33 6.2 Maracatu: …. 35 6.3 Frevo: …. 37 7.- Conclusion: …. 38 8.- References: …. 39 9.- Acknowledgments: …. 40 To read the drum set: 3 1.- Introduction We live in a world where the culture that took over of almost every aspect of our life is the “immediate culture”. Everything is made and needs to be done for “now”. If we put attention, we will see that almost in every scale of our existence, like our economic system, the way that we see life and understand life, and the way that we face the problems are based in what gives us more profit now and how we can have an immediate solution for some specific issue, without really concerning about the future. We live in a system where the people look for “immediate solutions” in order to solve “immediate problems”. And therefore, we are used to develop a superficial knowledge about one subject, instead of really knowing it deeply. As a jazz drummer, I realize that I’ve been acting in the same dynamic. If I need to learn some specific subject for a gig or for a test, lets say “vocabulary of bebop”, I will just go to the books, study it’s patterns and licks that they show, and if I really put time on it, I can transcribe some tunes and play all the phrases there. Maybe I will end up knowing the phrases and I will incorporate them into my vocabulary Now, my question is: do I really know this phrases? If I know some licks that I transcribed from Philly “Joe” Jones and include them in my vocabulary, does it really mean that I know it? Do I know why did he play that? Do I know why his language was like this? The answer is “no, I don't know, I just transcribed them and I know it works in that context. “ This question made me think a lot about what do to really know music (and in my life!) but now I will not take this matter. I started to think that most of the things that I play are instinctive or due from superficial knowledge. I started to realize that when I play a solo, most of the things that I play, I play them because I know that they “work for that specific moment” but this don't mean that I know the language. So, together with increasing my knowledge in jazz vocabulary I started to think that I would like I need to have a drum language with phrases and elements whose origin and basic characteristics I really know them. Phrases that I would be able to track back and say “this phrase comes from here, because I took from this other place and its origin is there”. In that context, I decided to investigate Brazilian music, for I’ve lived realized that I have more experience and knowledge in it. I've lived there for several years, I speak its language, I know the culture and played in schools, traditional Brazilian music combos and samba school’s baterias. With this previous knowledge, I decided that I would really like to incorporate some elements of three specific rhythms into my jazz vocabulary - samba, maracatu and frevo. The only “problem” with thuis rhythms is that are played by “orchestras” with more or less 300 musicians. The big question came then: would I be able to reduce all this things in order to incorporated to my jazz vocabulary?” In order to answer this question, To this work, I searched for information about Brazilian music in general - more specificly into samba, maracatu and frevo, got some historical information and made some transcriptions, after reducing to drums and then applying them in a jazz context. 4 2.- History of Brazilian music . The first step in terms of “knowing the subject”, is to look at the cultural and historical background of the subject we want to understand. In this case, to know about Brazilian rhythms, I need information concerning to the country, and to the origins of their musical tradition. Now, to talk about Brazilian music means to talk about more than five hundred years of history and this is not the propose of this work. If that would be the idea, it would take the whole work itself, due to its extension and quantity of rhythms and musical styles. So, the propose of this chapter is just to give a very short introduction showing how this music evolved, and got mixed with others musical elements. At first we need to start mentioning that Brazilian popular music is like the country itself: a fusion of cultures - European colonies from the Portuguese, French, Spanish, German, Italians and many others together with the African slaves and native people. In terms of music, maybe the most famous Brazilian music style would be the Samba, the style of brazilian carnival. However, Samba is just a little part of the rich country's music diversity. Styles like choro, frevo, forró, maracatu, boi, baiao, bossa nova, chamamé and many other contain a rich amount of information in rhythmical aspects, but also in melodic and harmonic aspects. Also through the years, this traditional styles started to mix with some other musical forms, such as jazz, rock, funk or rap, expanding even more the amount of information. There is no data about the native Brazilian music before the arrival of the Europeans. The first registers of music in Brazil were done by the Spanish Jesuits priests around 1550. They founded settlements called “Reduções”,where the native people received an education orientated to religion and music. Around the 1600, the reducoes had a great cultural development among the native people, that were really interested into European music. They also were really participative in the construction of the instruments that they were playing, and also in performing - instrumental or vocal. Over the years, native people started to be persecuted and made slaves. This fact originate huge fights between the native people and the Portuguese army. The ones who survived to massacres and diseases brought by the imigrants, escaped to different regions of Brazil. They began to avoid any contact with the Europeans and their participation in the European music disappeared. By 1700, Minas Gerais became one of the most important states from Brazil . It's name refers to the gold and diamond mines in the region. The most important city there was Vila Rica (today called Ouro Preto). Whith this progress, the region started to grow in a very “radical” way. This created a series of problems because the cities were not prepared for this explosive amount of people. There was too many people with needs of food, clothes, shoes and place to stay and this situation started to become with almost no solution. 5 With the time, the resources of the mines in Minas started to decrease, and the population began to move again, this time to the zones of Rio de Janeiro and Sao Paulo. In this context, popular music started its formation. The“native music” from these different áreas joined african and european traditions. Rhythms such as capoeira, afoxé or maracatu were taken by migration to big cities-São Paulo, Rio de Janeiro - and became very popular. Styles like chorinho show a very strong European tradition in its harmony and melody; Samba has more african influence; Bossa-Nova will have jazz influences,. Also in classical music we can see the same experience, the fusion of several influences, through the work of Heitor Villa Lobos. 6 3.- The Rhythms 3.1.- Samba Is the most known rhythm from Brazil and its considered the most important as well. We can find the origin of this style in the state of Bahia, in the XVII century, where slaves from Angola and from Congo brought to Brazil the “semba”, an African dance. At the end of the XIX century, the city of Rio de Janeiro, that was the capital back then, was the most important city of Brazil, and also the center of the culture of the country. Because of that, a lot of immigrants, specially from the state of Bahia, will come to Rio and stay there. In this place, they will mix their own musical traditions with a number of musical styles from all over the world, like polka, habanera or maxixe. In the beginning of the XX century, the neighborhoods close to Rio, like Morro da Conceição, Praça Mauá, Praça Onze, Cidade Nova, Saúde e Zona portuaria, were the house of all the immigrants that came from all over Brazil. Also in that place, the “Tias Bahianas” (aunt from Bahia) with their migration from the north, started to accelerate this process of fusion of this styles, making the perfect conditions to create the samba. In addition to their sweets and nice food, the “tias” brought the tradition of the parties of “fundo de quintal”, where they celebrate hand by hand the religious traditions with the profane traditions, and always with very good music.
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