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Th;E Essence Oj Brazilian Percrrcsion Wtd Dntm Set With

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Th;E Essence Oj Brazilian Percrrcsion Wtd Dntm Set With Th;e Essence oJ Brazilian Percrrcsion wtd Dntm Set with. Rhythm Sectlon Parts Rhythms Songrtyles Technlques Appltcatlons By Ed Urlbe The ^Essence oJ Brazilian Pereussion antd Drum Set This book was deshop published and produced entirely by the author. Audio CD recorded, mixed and produced at Big Daddy Productions, Englewood, NJ. All instruments played by Ed Uribe. All photographs by Cildas Bocle. fsBN 0-7692-2024-X @ MCMXCIII, MMVI ALFRED PUBLISHING CO., INC. All rights reserved. Printed in USA. No part of this book may be reproduced for any purposes without the express written permission of the author. t'fu F-ssenu. of Aruitian gaussion nt tDrun Set About the Author Ed Urtbe ls a graduate and facult5r member of Berklee College of Muslc llt Boston, Mr. Hc h.3 dso taught at Drummers Collecuve ln New York Cfty and appeared as a guest cducator at nureroua other sctrools. In addltlon to hls role as an educator, Ed pursues an acuve ftcc-lance carccr Frffimlng wlth maJor arusta throug[rout the world. He has performed wlth Ray Barrctto, Randy Brcctcr, Crry Burlon, Mlchel Cam o, Paqulto Dtlvera, Georgc Coleman, Tania Maria, Donald Byrd, Darrc Smucl., Daud Frrcdman, Claudlo Rodlu and The Toshtko Akb,osht-Lew Tabaktn Ordrcrtre, among ottrcr.. As an arust endorser and clhlcl,an for Z djtan Clmbals, Pearl Drums. Afto Percu$ldr, Vlc nrth Sucks, KAT Inc., Korg Inc., Opcode Systems, Fbhman txum Trtggers and Rcmo Productr, Ed has appeared htemaUonatly at maJor Jazz festlvals and unlverslues. In the f,cld of mrdt and electronlc perculdon, Ed performs Eolo conccrt! and clrnrcr d hlr o*rr composlUonE, and do€E programming and productlon work for varlous aruets and rtudloa. Hc L de a rnldl clhlclan/consultant and heads the electronlc percusslon and programmfng courser at Bcrklec Couege. As an educauonal leader and ln-demand pla]rer rn the fleld of Lath pcrcu.slon, Ed hrr dq/cl- oped and dtrects the LaUn Percusslon program of ltudy for Berklee College and har wrlttcn cxtcndv€ educauonal materlal on thls subject hcludtng hls two books and vtdeos on Brazlllan and Afto-Cuben Percusslon and Drum Set publlshed by cPP/Bclwln Inc, Ed has lfrred ln Braz and also toured the country extensfvely both as a pcf,formd ertd a atu- dcnt of the muslc and culture. He also performcd tn Carnaval tn l9&1. Ortgtnally from San Franctco, Ed ls currently based tn New York. lIfu lF-ssence of Sra.ziIian lPerausinn and lDr*m Set Acknowledgments and Dedtcation To be able to play muslc of any ldnd l,s a gft frorn a greater pwer. Althoug[r muslc |3 eomc' thtng that belongs to everyone, playfng ft ts not somethhg that everyone ls able to do. It ls somctlmes easy to lose slgbt of what a prlvtlege ft ls to be able to play and teach muslc as my ltvelthood. Whlle a part of m€ belleves that becomhg a mualclan ta not a matter of cholce but a matter of tnevftabtllty. lt ts by no meana an automatlc occurrence to become one. It ls both a llfetllne and lfe-stjde commlt- ment. Ifs Just one you make at all costs. On tl:e other hand, wh,lle you alone become a muslclan, you are bound ln various ways to other tndMduals ln order to er<lst wlth lt, You need muslctans to play wlth, an audtence to play for, p€ople to record you, and most [nportantly, teachers to learn ftom. Whtle thls learnlng process ls ltfelong and what a teacher ls takes on many dlfrerent forms as ttme go€s on, one of your prtmary and most lrnportant relauonsl,[pB ls wnh your teachers. A great teachcr can make all the dlfrerence behpeen havlng a healthy, s€cure vlslon of yourself ln the muslc wodd, or feeltng ltke you Just can't crawl out fiom under the rock. wtth these brtef thoughts |Ir mtnd I would most gratefrrlly llke to dedlcate thls book to Ed Valencia and John Rae. Ttrey are the t5rye of teacher I am referrtng to. My grautude dso goes out to all the other teachers and muslclans ftom whom IVe learned thls mustc, and played thls muslc rrlth. Also thanks to L€nnle D, at Zfldjlan, Scott, Bob and Rfdrle at Pearl Drums, Vlc F]rth, and Llryd Mccauslln at REMO for provtdlng the surdos. Many thanks to Tony, Mlke, and the guys at O, DlBella Muslc for all the help wlth the lnstruments and for belng a great muslc store. Thank8 to Carlos Frranzetu, XIp Reed and Mark Iamparlello for thelr help wlth the rhythm secuon o.ampl€s. At Berklec College, thanks to Dean Anderson, Larry Monroe and Dr. Warrlck Carter for thelr support and also to Tony Marvugllo and Davld Mash f6 tl:e technlcal asststance, Thanks to Gerry and Ben James of Interworld Muslc for helphg me get thrE proJect golng. Special thanks to Sandy Feldsteln for makhg thls project posslble, and Last but certalnly not least, my deepest tlanks to my wlfe, Robln, for the long hours of edfung tle book and for her endless support of thts lnevltab ltv of mlne. Ifu :Essence of tsruitin fuc*ssbn eil lDrut Set Table of Corrtents About tbe Autbor Acknoutle dgtnent s and, De d.ic atlon 4 About tltts Pre s entation 7 Background Informatlon I Deuelopments in Brazil ... .. ... , , ..9 Map of Brazil and Related Regions .,..,...12 IIow to learn and Prac-tlce tb/"s. trIatertal T3 Part I Brazlllan If and, Percus sion r5 The Sozgsryles r6 Samba, Camaual and the Bcol6.. ......,.16 Baiad and otber Nortbem Styles ...19 The Percussion Instru,ments 2I Tips for Getting tbe Rigbt Sound and Feel .....22 Surdo ....24 Samba Patternsfor Surdo ..,.....% Baiao Pattemsfor tbe Surdo or Zabumba ....30 Ago-go Bells .,32 Trtangle ..,....34 Caixeta ........36 Chocalo and Ganza ,,.37 Afox6, Xequer6, and Cabasa ,..,35 Reco-Reco.... ..,,,...41 Tambortrn.Hl. .., ........42 Pandeiro ,,..,,45 Apito .....51 Cuica ..,.52 Atabaque, Congas and other Hand Dru.ms ...54 Caixa ..,.fi Pratos ....ffi RQinique.. ...61 Caxixi ...62 Berimbau,,.. ........63 The Rbytltm Sectlon 65 IYtbat tbe Bass Player Does ...,,.,65 Comping Pa.ttems on tbe Piano and Guitar. ......,.67 Summa.ry 72 Tfu lEssena of $razi[ian lPeratssinn an{ Drutn S et Part II Braztl:ian llntm Set 73 Ttpsfor Getting the Right Sound and Feel .....74 Bo.ssa Noaa 76 Introd,uction ..,, ,,..76 Bossa Noua in 4/4 . ...,. 77 Bossa Noua in 5/4 ......81 Bossa Noua in 6/4 . ...83 Bossa Noua in 7/4 ......84 Significant Artists and Suggested Listening ...85 Samba, 88 Introduction ........88 Percussion Score ........89 Basic Dntm Set Approacbes .....W Suggestions for Variations and Improuisation ......93 Sticking Cornbinations ,.....96 Samba witb Brusbes ...99 Bru,sb-Stick Tecbnique ....102 Batucada ...1O4 samba cruzado 107 Samba Marcha .110 Sarnba de Partido Aho ... 1 12 Samba in 3/4 .,,, 116 Samba in 7/4 .... 1 18 Signfficant Artists and Suggested Listening .122 Cboro/Cltorinho 124 Ba,iad 125 Introduction ...,.. 125 Percussion Score ......125 Basic Drum Set Approacbes ...126 Significant Artists and Suggested Listening .135 Maracafit, 136 Marcba rc8 Freao r39 Catarete 140 Afoxd 14r Glossaty r42 llfulF;sence of Erozi[ian lPctxu.ssion eai lDrunSet About thls Presentation Thls materlal ls a formal organlraUon of uruslcal sgfles that havc sunrhrcd and progrcrcd from generauon to generauon througlr an oral tradtuqr. It ls not muslc that cvolvcd from, or rar taulht througlt. formal educaflon. Thls rs the study of folklore. You are, ln esscnce, lcarnlng a laneua6Fthe language of Brazfltan rhythms and songstylc!. In leamfng any language, ]rou .tudy lt! aomponcnt8, the alphabet and tts pronunctaUon, how to form words ftom thos€ letters, hon' to rnakc lcntcncca and go on, Ttre study of t}|ts materlal ls the same. You wlll practtce bastc technlques and rh5rthmr, These are the components. You'll then pracuce putthg them together to play spcclic songstJicr ard to lDprovlse ln ttds tdlom. In the serlous study of a language, your goal ts to spcak, underetrnd and be understood-to speak ltke a nauve. Your final goal ln the study of a muslcal EtJdc chould bc thc .rme. You should strlrrc to play thls muslc as lf 5ou had learned tt ln lts purest, hand-mc-dwn, cd tradl- ton, Then you can truly feel you know how to play a style. The goal of thls study it not to lcarn how to play a parucular Samba on Bata6 beat, but to lcarn how to play Samba and Bata6, dont vlth thc other stlde8 presented. There ls a blg dlfierence. Part I deals er(clustvely wlth the trrcrcusslon lnstruments. There ls an tndMdual rcctton for each hstrument that tncludes a descrtptlon of thc lnstrument and lts tradltlonal usc., the tcchnlquc! of playfng lt and varlous rhythmlc patterns for tlrc md€ common styles. Therc tnclude verlorr! etjdcr of Samba, Bala6, Choro, ftevo, Maracatu, Afold and others. Appllcaflons of thclc krrEumcntr.nd rhythms tn styles such as Jazz and funk are also lncluded. Part U addresses the drum e€t. Each rhythm ls pres€nted separately wtth tomc b*kgnound hformauon precedlng the muslcal er<amples and e,(ercises, Before the drum sct mnplc. d cach .tyle, there lg a score of the baslc percusslon sectton and each lnstrumenfs respccttw rhythmr. Bcfac plsylng and as you practlce the drum set parts, jrou ehould refer to thes*and back to Part l--undl you knont at least the ba,Elc rhythmE of each percusslon part, IGcp Bt mlnd that the drum cet *as not atg|jnslly hcluded tlr thls muslc. To capture the essence d these styles tn your sct playtng yur murt &av ftorn what the percusslon pl,ays.
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