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

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

There are short rhythm secaon e).amptcr flcluded for you to scc what the other lnrtrumcnts play ln these styles. Nouce how the rhytlms of these lnstruments relatc to the rh5rthme on the percusslon and drum s€t. You can pracUce wtth these examples by playlng them lnto a rcqucncer and cutttng and pastlng so you have a vamp of jrour llktng to play along wtth. If you dosr't hrw . aequencer or plano chops you can ask a frlend to record versions of thesc onto a tapc machtnc rnd you can practlce wlth the tape.

The audlo recordlng lncludes oramplec from eactr s€cuon. Use lt as lour gutdc fa how the rhythms ehould sound when you play them. llre rccordiag follows the ordcr of the book.

The patterno Included here are not mcrely d

B€fore delvlng tnto the muslcal e)(ample!, here ls a very brlef hFtory of the dertloprncnt of thts muelc and mv connectton to lt,

7 Srazi.tun geruusbn onf DrannSet

Background Information

My comrng to play Brazlhan as well as oorer Latln stylea of muslc d€veloped fron a purely drum set-orfentei place. While growtng up I heard a lot of muslc at home that I1l generlcaly call IaUn' I pald no paruculai attentton to-tt. I Uied some and dtsltked some. It $asn't unul Itears liater that I riaUea tlat f h6a been e).posed to muslc from most of LaUn Amertca and much of Europc' On the gpednc streets I also heard dtfferent forms of LaUn music, but none whlch I could ldenury tlr any way. At that urnFthe late slxttes to mtd-sevenues- San Franclsco had many muslclans that were lnvolvrd wtth lntegfaung Lattn styles wtth rock and funk styles. (Groups llke Santana, MaIo and Azteca clme to Lath tn the m.111al.) Trus movement seemed much like the one that had taken place between .Iazz and rn's wlth people llke Dtzzy GfUesple and Chano Pozo. Thls muslc sounded dlfferent and I thought somc was hlp, Uut irte most fdab, was more tn tune to the Funk, R & B a11d Rock sounds preva tng at the Ume. &lde from thts, I had no other exposure or connecuon to thls muslc' I menuon thls bccautc ln my trvohrcmexrt wtth performlng and rec:ordlog Laun-Amertcan mustcs, I'\rc @me acroas some attl- tu"des and phtlosophlis that saiyou cannot play these styles correcUy-whatever that means-unless you are fro:m a cer-taln country and ttre llte. Thts tends to sometlnes dlscourage people from erren "tt1a"t to 1ga-. Ifs true that t6 some degee you are a product of your culture and ]tour tttne, but thege s≤ can te tearned and can be playedl If you can goove yorr can learn any style. Ifs-Just llkc learn' fng a language. You harrc to be around tt anA speak tt enougtr and y-ou ll s$rt to sound llke a nattve' ffiere wd atiays be people who wtll play styles better and more tradluonally. Accept that as a gtvcn and try to learn from-these people. I" Ure e"a, your best lessons wlll be from people llke thls who are w ltng to shosr you, If someone dlscourages you Just move on'

When I began takhg drum lessons I was shown, among otherthtngs, Braztllan_styles ltke Bossa No , Sam6a and Sia6, and Afro-Cuban styles ltke the Cha-Cha and Mambo. Playlng these rh5rftrms was so dtfferent than any of the other stuff on t]re drums. They dldn't feel ltke they were from thi drum set and of course, I latei fornd out th€y weren t. The s5mcqratlons h the rhythms felt so dffierent and so good. I started to ctreck out recoidlngs and to go see thls mustc played-Ifirc. The mustc made me morre riy body tn such a dlfierent way. I kept checktng out more mrrslc and I k€pt ashng to be shown more of these groorrcs and tt hasn't stopped to thts day. Whtle at that t|tne most of thelc rhythms were merely htp-gooves on the drum set, tt wasn't long before I got completely tnmcrlcd tn thi dtfierent styles and peicusslon lnstruments. My ffrst muslcal tour to Braz waE ln 1982, I was to play there stx weeks and return home. Irrstead I reiurned almost a year later. IVe stncehad the good ioriune to perform |It La$n and South Amertca erdensively, and every Ume I go I tnevttably comc back amazed at some new rh5rthm or lnstrument I was eJgosed to.

In the course of oelortng and performfng thls muslc I've dlscovered an unfortunate fact' Mo3t -mustctans Amerlcans and ntany Amerrcan perceirrc everythlng south of the Tenan border to be Just plaln Lattn---one btg genertc category wlth a shgular ldenttty. Not or y ls thts percepuon grosEly imprectse, but for a-niustctan tt ts unacceptable. It ls tmportant Olat you become€v/are of the vaat dlf,erences that odst between the varted cultures ln Lath Amerlca and the Carlbbean' parucularly ln thetr muslc, and espectally lf you ate a drummer/percusslonlst'

Most of the muslc of LaUn Amerlca shareg three common cultural elements: The Aftlean cul- fure of the slaves brouglrt there by the Europeans, the folklore of the nauve Indlans, and the Europcan tradlgons of whatever power domlnatea thai parflcular reglon between the ffteenth and elghtccnttl ceriturles, Astde from these common threads, there are countless dlstfrcuons to b€ noted and count' less musical styles to exPlore, Followhg ls a llst of a few common muslcd styles from varlous Lattn Arncrlcan end Crflbb..n countrlea:

. Argentlnn: Twtgo, IiIIong* Zantha, Chocarcro . Unrgluay: Cantdplntlp,, Zamba . Columbia: CurnDla, fumbu.co . Venezuele: ,Ioto1n, Vclse . Eguador: PatIIIo, Taqucrorl . Chlle: Cucg . Pent: Guabto, Yats Pewanrp' La,Morlnsv . Andean Styles Bagrlo'lc'. &rna uallto, Vrdala . Medco: Mtlrba, Franwherq lfrattach;|' firJnn ednh IttLt andtorrtw oJ Danzotu .toropo fdlern . Rretto Rlco: Erlrmlp..Pbna . Domlntcan Rcpubllc: Menngrra . tHrldedr &lrygrrn., $oco, . Ilaltl: Mercngw, Jorm of Frenoh Varlatbn . rfamalca: R.qgot . Cuba: Sorr' Jantbo, Clto,-ctro' Guaguacd, l@t* Bgrlntf,, Afufun" Cuqllra,, Channg,a" RunDa *' Batd rhryEhms, Sottgo, Calngrro,nd,Ulln5ntu' klo turd flnally the toptc of thls book:

. Brazll: fuea,I$ooc" Sambq' 8g;1116, fncoo' lat@u" Charb{p, Capoefr:* Carrfufirblc, lfotd,' Xof,., Ifrq'x'fr;c

Thes€ are Jrust a few of the many, and thls |! Just one part of the wuld. Thtnk d the rtelth d rhythms and percusslon lnstruments there are to €rplore. Thls should be rmportatrt to f(r tro reaaona. Flrst, as a drummer/percusslontst, learntng the mustcal styles of thcrc meny culturcr',ou w l geatly e.:

Deuelopmantt in Brazll

. Stnc€ the beghrng of tlme cultures harc mcrged and formed new, or at thc nEry lca$, lntcarabd folklore, Unfortunately much of thfs merg!r4;*a!Ir't a wfltftd, cooperattve efict bctstctr cultur,G.. It r|r generally forced upon peoples by stronger, tmperla[rt pourcrg whose motfirc! w€rc ccrtahly not to dc- \rclop new cultural tradtudrs. Many tlmes thrs |mporluon of will has complctcly annlhrlstcd PGod6, (r has l€ft cultur€s ln conllfcts that harc lasted generaU6re. The transferrlng d peoplc ftm thch hqtE- land, as was done wlth West Afrrcans made slavcr tn the flfteenth through eegEt|tccnth ccntutt by European powers, or the drawtng of a geograpt c boundary through the land d a pcoplc C'd.Ong htat, have forced cultures to accllmate to dlfierent homelands and the pracuces of unfamlllar p@cr.

I ,hfu lF-ssence of Eraziftan tPeratssion on[ Drun Set

Wrtle the sufrerlng caused by these tntegraflone can hardly be seen as posluve, there wtre ge€ds planted that ga\rc blrth to mustcal styles that hane shaped the dwelo,pment and dlrecuon of DuEle througlrout the world.

When these forced merglngs took place, generally a couple of thlngs happened. Tlre empower' lltg culture enslaved and tnposed tts customs on the natlve people. If thls was not posstble they someumes slmply ellmlnated them, Ttrey then brougtrt ln other already enslaved people for labor purposes ln the eJploltaflon of what th€y now vtewed as thelr new liand. Whfle the rullng porvers were dotng thetr best to reorlent these people to thelr customs, and |Ir many hstances forblddlr4l OreE to conunue thetr own cultural pracuces, these groups attempt€d to contlnue thelr tradtuons ln whatcvtr way they corld, wlth each ethnlc group carryhg on thelr own pracuces ln a new and htegrat€d land, the result was a tremendous blendhg of mustc, rellgon, languages and soclal customs.

In Braz these events began taklng place ln ISOO when tl:e Portuguese explorer Pedro Ahares Cabrat landed tn what ls now the state of Bahla. There he found an hdlgenous populauon of counuess trlbes of Indlans that had erdsted tn thts land for thousands of years, (Htstory shows two to three rnrlllon lnhabttants, datln€l thelr mUFaUon towards these regons back 4o,(Xn yeats,) In a rt€ry shdt Ume, these people were enslaned and rnany eltmlnated. The enslarrcd Indians dld not Provlde the Portugues€ wfth the labor force they needed to eJelolt the wealth of m|neral and agrlcultural reEour@s of thts land, The ne)d stq) brou8ht the Aftlcan 8laves. Flom the early lSOO's to the nrld- l SOO'g' ap' prodmately 3.5 mtlllon Afrlcans survlved the crosstng to Braz , (Thns is flve to slx tlmea more than were brougtrt to North Amerlca durlng thts perlod of slavery.) Hence the merglng of varlous trlbes of nauve Indlans, Aftlcan*also of va!'led reglons and tribes, thouglr mosfly ftom the northwestern patts of Afrlca---and the Portu€iuese, began.

Braz tan mustc evolved from these three cultures, Indtan, Afrtcan and Portugpreee, but of the three the [rdian lnlluence ts the leant prqrounced and t]re Afrtcan the most. The mlnor rolc Indlan musfc play€d ln the errolu{on was due ln part to the .Iesutts who, upon thelr arrfval |n Braz fn the ml&' l5(x)'s, s€t out to re-educate these people, teachlng them to pracuce European customs and teachtttg them the'beneffts- of Chrbtfanlty; thus suppresslng thelr cultural and rellglous pracflces. Tbls re- educauon was part of the mtsston of the ocplorers ln the new world. Althoug! the Indtans had a long- standtng folklore, they tended to lose thelr cultural tradlttons ln thelr dlaspora and ln th€lr ltrtegrauon wlth the whnt€s, The Indtan popul,auon ln Braz ls today roughly ten percent of what lt was then.

For the Afrlcans, muslc and drummhg were an htegral part of da y ltfe. Thelr rellglous rltualr ako fil/olved them eldensfi/ely. These people brought and malntaarcd thelr customs |jr a form more tndgenous to thelr cultural roots, Thts is due to several reasons. nrst, the re-educauon thc e,q)ltrcf,s were attempttng wtth the nauve Indlans v/as not done wtth the Afrlcans. They were enslaved and thelr educatton was not ll1 tJ:e program. The only effort rnade was to not allow them to practlce thelr folklorlc customs, but they were not a9 closely observed as the Indians and thus were able to conttnue some of thetr rttuals. Second, throughout hlstory, all Europeafl conquerors made an efrort to ke€p thetr Afttcan elaves from pracflchg thea customa (wlth the northern Protestant Europeans behg the most oppresslvel. The Portuguese were no e:rceptlon. but althouglr they made efrorts to suppress the reltgtous practlces of the Afrlcans, they were more tolerant of the Afrlcan cultural practlces than thelr northern European clunterparts. Thls may tn part be due to the fact that the Iberlan Penfnsula had tnteracuon wtth the North Afttcans-mostly ln the form of wars and ensliavement b€tween the Moorg and the Chrlstlans-that dates back to th€ twelfth century and were thus more accustomcd to somc lntegrauon. Furthermore, th€ Portuguese exlrlorers----as well as the Spanlsh and Flenclr-wcre moetly male, versus the mlgratlon of entlre fam les of En$tsh Protestant backgrounds to North Amerlca, Thus thetr tendency to tntegrate, even |f only for propagauon, was greater than that of the northern Europeans, who, havlng endgrated wtth thelr entlre famtlles, generally disdatned any tJpe of htegra- Uon and went tlrough great efforts to suppress the Afrtcan culture. The southern European oqrlorers and s€ttl€rs, to some degee, had no cholce but to mlx and the melthg pot began.

The Portuguese brought wlth them the European melodlc and harmontc tradluons. Thesc fncluded Spanlsh, Frenctr and some northem European lnfluences. Ttre elements of both sacred and s€cular muslc were present tn thetr melodles, harmonles, pollDhony lt1 the vocal mualc, and certatn lo lBu(growt tnfon*ion

verge-chorus and chant 3ong structures. Certaln percusalon lnstruments such as basc drum! end snare drums had some of thelr orlgln ln m itary marches. All of these became lntegral partr of many Brazlltanl styles. The more folklorlc elements lncluded the tambourlne-an adremely popular tnrtru- ment ln Portugal, the Basque regons of Spatn and France, several other areac of northern Europe and regons of tlre mtddle-east, Thls gave way to the Braz lan Pandelro, an lnstrument that ha! b.cn developed to the potnt of true arustry by Braz lan pcrcusslonlsts. Strlnged hstrumcnt! brought W the Portuguese also lnlluenced the dorelopment and use of the Cavaqulnho-a rmall four-.trlngc{ gultar very common ln samba muslc, as well as thc alx-strlng Eiultar tn latcr stjder. Lalt but crtalnly not least, the Portuguese brought thelr language, Braztllan Portuguese devclopcd lnto a lydcsl and sensual verslon of the language that lends ltself to a captlvathg and allurtng vocal muslc stJdc. It abo makes Braz unlque as the only non-Spanish Bpeaklng country ln Lattn Amerlca.

The Aftlcans brougfrt wtth them predomhantly vocal and rhythmtc elemenb as w€ll a! pcrcut- ston lnstrument8 that s€rved aB the otgtn fd many tlrat are an ht€gral part of Brazflfan and lattn- Anrerlcan muslc today. Infually the Portuguese brought Aftcans from thelr colonlca ln M@amblquc .nd Angola as well as the Congo. Later, as slave tradlng to the west hcreased, many rere aho brot{ht frorn northwestern regons, Agaln, both sacred and seculiar lnfluenoes are present ln thc Afrlcan cqrtrlbu- Uons. The call and response vocal styles and drummlng of the Yoruba people*om prclcnt-day Nge- rlan regons--lllustrates the lnfluence of relig[ous music and dance and ls Btll very prcscnt ln mlny northem Brazlllan musical styles-partlcularly Candomble muslc. Duple meter wtth lajrcrhg of trlplc meters ftom the Afrtcan 6/8 tradlttons as well as thc layerhg of varlous rhythms o\rcr an oatfirato puL€ are some rhythrnlc elements of Afrtcan muslc that are very mueh the structural foundaudr d lreny Braz fan rhythms today. Many percu$lon lnstrumcnts d Afrtcan orEfn such as \rarldrc lhslcf,r rtr!& of weaved baslcets, hstruments made from gourds cuch as sheker6s, stngle headcd, conga-lfte &umr, some double-headed drums and scraper-tJpe lnstrum€nts gave way to the developmcnt of cardJd, fu, chocalos, atabaque, reco-reco, the berhbau and a wealth of other hstrumentE uscd tn Brar[lan rtylcs, Afrlcan culture was most lnfluenttal ln the developmcnt of the stSdes of northern Braz . It ha. rurrrlr,ld more lntact, and is more prevalent ln thls re€lon than ln any other tn the country.

Indlan lnfluence, as mentloned before, was lcss apparent. Nonetheless, cutrlbutlona h tlrc area of flutes, c€rtatn vocal stJdes and certatn pcrcusalon lnstruments such as rattler and rhelcr. made from gourds and some weaved basket shakers can be traced to Indlan rootr. Nthough not ar pre\Elent |Il the Braz lan mustcal styles that af,e presented tn thls text, Indlan mu.lc ls qultc prc.cnt ln many westem (Amazontan) regtons of Braztl, ac well as tn many of the Andean rcgonr cuch et those of Ecuador and Peru,

All of these cultural elements combhed to form the basls of the muslcal styles whlch wlll bc presented ln thts te:d, These styles were chos€n because they are the moot prevalent rty,lcr ln Brarll- lan popular muslc and have had the largest efiect on other mustc througlrout the world. It! hf,ucnce and tntegratton lnto Amerlcan styles of Jazz, funk, R & B and other popuLar muslc ls so grcat that lt ls almost essentlal that all muslctans become famlllar wlth them. It can safely bc sald that fn the preurt day, Braztl---along wlth cuba and Amerlcan popuLar mustc-has had the greatest tnflucnce cr poputar muslc throughout the world. Brazll and Cuba---along wtth Afrtcan muslc-havc dso had thc grcatc.t lnfluence on all bD€s of Amerlcan muslc,

All of the songstyles of Braztl-the many Sambas, Bala6, Fterro, Maracatu, Candomblc, Mrsxe, Chortnho, Coco and Afo<6-o

ll SraziIinn lPerausion on[ Dratn. S et

Map of Brazil oind Relo;ted Regiolts t{ow to Lc*rn N.wf.t ^nthueficcllfrit How to Learn and Practice this Mater{al

How you should approach leamhg thts material depends largely on your tcchnlcd prod' clency on the percusslon lnstruments and drum rct, and on whether lou havc any Prlor eryourc to thes€ styleE. It should go wlthout saylng-but I'U ray thfE anyway. You harrc to hew yqrr br1c. down before you can make thts matertal sound rtght, Your bastc hand and .uck tcchnlquc., cddl- nauon, foot technlque, readlng, counung ln narlou. ttmc Elgnaturcs, and m6c than anythtnj. your tlme, Wthout tllls ]rou have nothtngl

If pu are prlmarlly a drum set player, ]ou ttrorld focus on learnlng thc Frclr!.lqt h.tnrttrart and rhythms ffrst. As menuoned earler, Ore more you can lncorporate and draw from the pcrcuraEl and tradfudral rhythms, the more you wlll play ttrc rtyle wlth an authenuc sound, Wlrcn you're rturlly plryng, the chotce becomes 5ours, but havlng thL knowlcdge under your belt wlll cn$lc J'Du to plry thi8 way |f you vEnt c need to. If you are prfmarlty a pcrcusslonlsL thcn pu may alrcady ktot re a all of the matertal tn the frst parL You should r€\r!.nr and then work on thc drum ..t. trpu dct't hre basfc drum set slilU8, you may ne€d to do some otlrcf, tccttnlcal studl€s Btncc lmc dthL nr.tcd.l requlres a pretty reascrable degrec of lrand=foot coddlnauon and sflck technlquc'

If you already play on an lntermediate to advanced level, you should get fanlltar vlth thlr materlal ftom a more traditional perspecuve. Practtcr lt, memorlze the pattcrnr and practlcc tmFovt ' |Ilg wtth n. cet recordlngs--there ls suggested llstcnrng throughout the text-end learn hw thrl materlal works ln the actual muslc. Your next ord6 d prlorlty should be to frnd payfng .ltultldrt where you can apply thls mat€rlal.

If you are more of a begtrner or comhg to thl! muslc for the flrst ttmc, my advtce L to |Ft r good teacher to gutde you. If you don t know hos thrr materral r supposcd to lound' 5rcu nccd aomeone to hear you play and tell you lf you're on thc rfght track. It ts also rcry tmportant thrt ]'ou llsten to recordlngs of these styles, The recordlng provlded wfth thls book should bc !,our prltDary gulde for how thebe o

A few thtngs to keep ln mfnd: T.l:e mualc lt.clf wlll almost alwayE tell you what can end should be played. Hence varlattdns, approaches and artlculaflons---other than thocc ln thb book- wlll enter tnto the ptcture. In an tmprorrtsauonal ldlom, other factors.{artfcularly thorc of lntcrplry betseen the mustclans--wlll also dlctate what to pLay. However, marry sltuauont w l accomt[odrtc and may even requlre the types of rhythms prescntcd here' Agatn, llsten to thc rcctrdhg prov,|dcd and as many recordhgs and llve performances as llru can, as well as flnd performsncc rltultlona ln whtch you can apply thls matertal. Your actual playhg and er(perlmentatlon wtU bc your bc.t lc.rn- lng q(perlence. When you do get an opportuntty to play thts muslc wlth pcoplc who rcdly Lno? tt, keep your eyes and ears wlde open. These wtll be pur most valuable lessonr, Plck thclt bralnt whenerrcr the sttuauon allows. When pracuclng tht! materlal thlnk mustc, not excrclrct. Whlt you'rc sE|v|ng for prlrnar y rs a good authentlc feel.

l3 qfu:Essenu, tsrazilia.n lPeruusion anf Drunset

t4 tfu rF,sserce of Arazifiaa gdutssiotr eal lDut Set

Part I

Brazilio;n Hc;ndPerurssion

Rhythms songstyles - Technlques Appllcations

15 Erazi[ian lPerausi.on

The Songstyles

Brazll ltke all other countrles ln South Arnerlca, the Carlbbean and Afrlca, has a \Est number and vadety of songstyles, rhythms and tr8truments lndlg€nous to lts folklore. In splte of thc marry Brazllan Jtytes, moet wouldagree that three st5les are most knourn, and have had the btggelt lntlu' ence on poPular mustc througfrout the riorld.

The flrst of these ls the Samba and tts dertvauve etyles. Its derlvatlons are mostly based on elther the actual muslcal form or approach-such as ln the samba canca6 or samba marcha' or on a parflcular reglon or netghborhood that the partlcular style emanated from-such as the samba dC morro (referi to samba from the h ls surroundlng Rlo). The second of these ls the BosEa Nova. Thrs rhythm and songsgrle wlll be addressed tn the second part of tJle book. The thFd ls the Bala6 and lts related s$rles from the northern regons of the country, The etyles from the northcrn partr of the country most o(htbtt the Afrtcan herlta{ie and tnlluence tn Braz 's muslc. They arc not necessartly speclflcally related to the Bafa6 rhythm, but for our purposes wlll be preE€nted under thls general iategory of northern sg es. Under these two broader toplcs of Samba and Bala6, wc'll oramrne ttre rhythnis, songstyles, performtng ensembles and related toplcs from whlch the mustcal o

Braztl's many muslcal forms can further be categorlzed as follows. (You can keq, the folowtng |tr mfnd |f you are tnterested ln further studles of thls culture and tts muslc.) The fltst categgry, sccu- laf /popular muslc, would lnclude the many Samba styles, the Bossa Nova and the Bafa6. Also llr- cluded would be the predecessors of these styles, the Lwrd{t" h[o,dre, Jongo, ha and the Bahqtt* the style ftom whlch the Batucada derreloped. The second category, sacred/retl8|ous styles, would lnclude the Candomble, the Afo<6 and etyleo that are us€d for other Afro-Braztllan rellgfcts such aa Caumb6, Umbanda and Xang6. Thfs category of sacred styles would also have a 8ub-category of Etldc! used for certatn rltuals that may or may not be reltgous but have roots ln rttual pracuces, danc€ adtlbtuons, processtonal dances or call and response type s|rlglng ln certaln cultures. Thls group would tnclude the Capoelra style, the Maracat{r, Frevo and vartous Congadas, Ttre Batuque could also be placed ln t}Lts eategory, All of these song forms have also glven way to many hybrld combtnauons mfidng varlous Braztllan stytes as well as mDdng Brazlltan styles wtth t]re muslc of other culhrres.

Samha,- Carnaoa;l and thle Escolas

A strgle techntcal delln ron could not accurately express what Samba truly ts. Other than to say the obvtous about ft behg the most pqrular Afro-Braz tan muslcal form tn tts country, and probably the rnost well-known througfrout the world, errcrythtng els€ must be brok€n dovm hto catcgorfcel and characterlsttc deflntuonFhtstortcal accounts, the muslcal and theoreucal elements, thc soclal aspects and fnally the subJectlve defnlflons that don't alwaya harc to do wlth the actual muElcal form, To g\rc an accurate htstortcal account of the evoluuon of Samba ls also drmcdt, as thc actual orlgtn ts really unknown. There are gulte a few theortes thoug[, and there are several elements that most seem to agree upon. The Afrlcan roots of the Samba seem to be from the round or c{rcI€ danceg ftom Angota. Ttrese are known as Congodos ln Braz . The term and dance called Sembc*om the Klmbundu trlb€ ln Angoh-fs a dance featurlng t!rc Umblgada. Umblga ls the Portuguesc word for navel, Ttre umbtgada was part of Afttcarr dances llke the Batugue ln whtch one dancer would touch thetr navel agatnst that of the other. lhls was sometlmes the tnvltaUon to dance fron one row d dancers to the other. Many Afrtcan dance styl€s that featured thle, Other Afrlcan and A&o-Brazlllan style+-the Lund6, Coco, Batuque and .Iongo--€lso pla5red a role tn the evoluuon of Samba as thcy wEre brought south to Rto ftom the Bahtan regons by staves and former slaves emfgratlng from the

16 qn Sdrd tyht

poverty of the north to the more llnancially prospcrfng capltal ln the late lSOO's. Slarrcry war, tt lc..t offtclally, abollshed tn Brazfl ln 1888. Thls accountcd for large numbers of Afto-Brazllan. emltlruna from the nortl. Thls can account for one theory that Samba has lts roots ln Bahra. Whlle therc arc many more detalls and many variauons to the generd theortes presented here, dl agee that thc rcrl evolutron and development of Samba took pLace ln Rro, where lt came to ha\te a clnrectcrLtlc ttf,y dl8thct from other Afro-Brazllan songstyles.

In the early 19fl)'s a small Afrlca came to cxLt |tr Rlo due to the lnflux dAfrfcan rlsrtet fiG Bahla and otlrer northern reglons. An area ln Rto callcd Pm{u OtrE (Plaza Elevcn) we! drc of thc tsrl0.l and prtnary gatherhg places of these new errtgFes. Tlrc mustc pla5red durlng thc* gatherlng pLtttcd the seeds for the style that would later become the Samba. These lnlttal gatherlngr hsd an tnllux of many mustcal styles that had dweloped through the [rtcgrauon of t]re dlfrercnt Aflcan, Europcen and Indtan cultures. These gatherlngs and the muslc they generated began to sprcsd tlEoughout thc Jfauetas (poor nelgbborhoods) of Rto and Sarnba began dcveloplng, The ne{rt tnmlgrant! from thc ncth conttrnued thetr tradlflons of Ort@ (Afrtcan or Afro-Brazlllan gods) ntorshfp, whlch almoct alwayr lncluded mustc and dance, and ccrttnued maldng muslc and dance for thelr dafly consumptlon. Thc gatherlngs for the worshlp of these Ortns took place ln the homes of old Bal ran matrlsrctr. cellcd &r (aunts). These tlas successfirlly dtd a great deal to kccp Ulelr Aftlcan or Afro-Brazlllan culture aIE. ftay are honored today durlng Camouct by the AIa de Bawos ln the Esool4 de Satnba.

Early muslctans gatherlng |It these..,fcuetas bcgan to shape the Carloca Samba (urban Srmba ftom Rto) of today from the lnfluences of the stlll derrelophg forms of the duple mctcr marche, merdrc, tango, habanera, polka, and lundrl, as well as other tnfluences that resulted from all the Europcen and Afrtcan lntegrauon of the prevlous three centurles. Important muslclans ftom thlr area lncludc the composer/arrangers PDdnguhha and Srnh6, .roa6 de Balana, who ls crcdltcd wlth lntroductng tfrc pandelro as a samba lnstrument, and Ernesto dor Santos, knoutn as Donga' who co'compoced the flrst ofrctal Samb a, PeIo Tewone b 1917. The song wa! released by a group called Banda O&qr and spread rapldly due to the newest medta of the tlmc, radlo.

Samba made further derrclopments tn an arca called Est/,clo, Ttrese samblstas (aamba lfirovr- tors), as they came to be known, began makhg clearer dtsttnctlons between Samba and Marche end Mardxe. Clearer muslcal charactertsttcs evolved and bcgan to deflne the early Samba. Some of therc were duple meter wlth a heavler accent on tl:e second beat-the trro of the bar---compound, laycrc{ and syncopated rhythms, and rhythmtc structure ln thc p€rcusslon, call and reEponsc urcala ln lomc forms and verse-chorus ljtrtc construcuon, T?re most famous Samba figure from Ertdclo war lrltrtcl SlhE. others were N ton Bastos, Armando Margal and Blde. tn 1928 the flrst Es@la de SamDa ta. formed here. (Escolas de sarnba are descrtbed tn dct'll om the next page.) It sa! callcd Detm FabrJct me talk. It would take several chapters to descrtbc thc many other legendary oomposcru, lyrtcLtr trd mustctans who made Oretr mark on the dorelopment of Samba and Samba sgdcs bctwtcn thc l9rlO'. and the l95O's, but wlth thls brlef hlstory you ha\rc thc b€gtnnhgs of Samba. Thcrc are tso otlrg slgnmcant toplcs to keep !n mtnd. The mustc that had developed to thls polnt-the lg2o'+-wa. referred to as Sambc de Morro by the media and others who found it to be a strect, or lowcr clr.. mustc. In the 1930's a style caled Sanbo Congao emerged, Thts style, wtth ltr own lct of legendrry tlgures, emphaslzed the lyrlcs and harmony morc than the rhythm. It was derclopcd t't mtddL-de|| nelghborhoods and became the prevalent style from the thtrtles to the flfttes. Ttrtt rtlde wa. thc prcdc- cessor of the Bossa Nova, that sprouted |rr the llftle, but tri the fiftles the ScmDc de Morro, whlch h.d contlnued to develop atl the whlle, had a strong reEurgcnce due to the conttnulng cltabllrhmcnt of, thc Esc'/la de fumbc aa an tlirsutuuon for carnaval. Flom lts early days, Samba had alwayr been clorcly fled to Corncual, but lt fast became a nauonal ltBututlon as well.

Camaval was tnttlally a Catholtc holtday cdcbrated the week before l,ent4 pr;rld of ab.U- nence lastlng four weeks, (blbllcally speaklng, forty days and forty nlgftts). Carnaval wa! thc lilt ctrance to go nuts before the Lenten pertod. Its rootr can be traced back to the Bacchanalre of Rornrn thes. Some form of Carnaval ts celebrated tn most of Latln-America and the Carlbbcan ac t'ell ar ltlct Orleans'Mardi Gras tn the Unlted States. Carnaval evolved ln Braz from the Portuguclc cclebratlon called Entrudo. Althougfr present day Carnaval is a Umc ln whtch anythlng goeE, thc Portugucrc

L7 $razi[ian Perausi.on

entrudo of tlie seventeenth to elghteenth entury went much further-to a poht that more rcscmblcd a stre€t rlot. By the nfnete€nth cent rry ttre celebraflon had errolved to lncdPorate costum€ry, parad|I4 and poputar danoes of the European artstocracy such as waltzes and polkas. Shce mudr of thesc cclcbratbns vdre hosted and enJoyed oclustvely by the artstooracy, a movement began ln the streets by thc poor people that lrrcorpoa-ted, a-*tg Utf"g", tlre nuslc that was developlng ln thelr same crrrfrdm€rrt. It ivas- tfte merglng of thes€ two cultures"ttre" that €xDlved lnto what became tlte Bradllan Canuval

Stnce tts tncepUon ln 1928, the Esoota de Scmba has b€€n an htegral paft of C€rnaval and Braz l,an folklore. Ltierally translated lt means school of samba, but thes€ are not schoob ln the tradluonal sense, they bCgan as muslcal clubs or socieueg where muslclans, dancerE and tlrc ht€r' ested general publlc got together to play muslc, organDe Carnaval paradfng and par,take ln other fesuve-acuvtuis, althiugtr-they presently malntatn- the same purpose, today thelr rolc_ln carnarta!- the and 111 Braz tan soctety tn genLial-ts more that of a cultural hsfltuUon, Between 1928 and 1935 people to as paradtng through netgtrbortrooas by these early Escolas-the groups of 1519 referrcd blooo*was dtscouraged and even suppressed by the authorfues ln keeplng wfth th€ ongolrul suppres' ston of the Afro-Braz ran culture. Nonethelessi the movement p€rslsted and ln 1935 the govtrnTent officlally recognlzed the Escolas and thetr parades. Consequently the tnsututlon of thc Escola has not only grinrn to-b€come a grand spectacle durlng Carnaval, but EscoLas ate someflmes the ccntcr of co;;unlty acuvttfes Ur the netgfrborhoods to whlch ftey belong. Ttrere are presenUy solne ffty to Elxty regtstered-Escolas and countleJs otherc that erdst purely for tl:e people tnvolved. Tlre ofilctal Escolas pripare all year for the comp€Uuon of the Carnaval parade. Ttre Escolas are Judged on thelr themts- ttte fnredo- I.rus theme can be one of national celebration, protest, or pollttcal crlUclsm' Many Eongg are $rrltten about these varlous themes and each EscoLa plcks one that lt qdll use for that }rcar. The harrc Escolas are also Judged on thetr costumery and thelr muslc. An Escola paradhg tn Carnaval can three to flve-thousand members. Mdftionally there are the many muslcal arran8lers, costumc dcstF' ers, sculptors, palnters, organlzers and the lfte, all cpntrlbutlng to thts annual two hour parade that the Escola wlll compete wtth. The costs for each Escola are sometlmes prohlbluve slnce rnany are comprleed of people from poor areas. The flnanclng for muctt of thls comes ftom vattous PhlanthroPlc lndlvlduals and goups from all areas of Braz 's soclety'

There are very strtct guldeltnes for tlle Escola's Camavat presentauon. Eactr secuon of the Escola ts called an alo--a wtirg. There are two mandatory wlngs-the 4tr4 de B4ronds-|n honor of the das who hosted the Ortxo worihlpplng menuoned earller, and Combsdo de Ften@-ttre dunltarles or tnportant personallUes of t}te Escola. Everythhg else ls arranged by the Camoualesethe choreogra' pher of the Escola,

Followhg ls a llst of tlre dlrectors and secflons of a t5rylcal Escola:

1. Carnavafeeco-Arttsttc Dtreetor / Choreographer. 2. AJe de Balanas-Wtng dedtcated to the Bahlan tlas. 3. Passlsta*Master dancers oJ the SambaJor the Escola. 4. Porta-Bandetra-flag-bearer oJ the Escola's flag. A woman. 5. Mestrc-Sala-Master oJ Ceremontes. A rrrcrn. 6. Carros Alegorico*Decorated paradefloats deptctlrry the theme. 7. Destaque*Members weartng lautsh cosfumes rldtng atop thefloats, 8. Diretores de Hamonlt-Dtrectors, organtzers. 9. Rrxador-Lead stnger.

*The Porta-Bandetra and the Mestre-Sala are also the most tmportant pasststas ln the Escola.

18 ttusag*yfes

Ftnally there ls the fcrtre de Batata-thc lcadcr of the Bcterta-tttc p.rcu..lqr retrqr d the Escola, The tlDlcal Baterla can have from three to flrrc-hundred percu8slonbt!. Ltnc-uP. rtrry bcttten EscolaE but here ts a cgmmon lnstrumerttaUdr:

Sur&r: 30 to 45 &trrat,[0 to 5O R.eplntq'4,'s 40 Pralor: lO TqnDr|t;a:70 Paofrv:%) ASWE 20 to 30 Ctricoac20to26 Ch,Go.t,'fSO R'fo{T','s25

(Sct 'T,1€ Meste de Bdtetb tf/,rits the perutsslon sfrjtlon wtth a wh/sit,e andtt@ @rtq/r, d|. ,E d dropteljor an trlstrunr€nt ttst and descrlptbns.)

The parade begtns wtth the EscoLa slnglng the enredo unaccompanlcd tvo 6 thrcc t!re.. Thts ls led by the puxcdor who wlll keep thecc fve-thousand volces |Ir s]mc for clo.c to tro hour. wlthout maktng a mtstake, Then the entrance of the Baterla occurs. Thls lr a truly powcrfirl mo- ment. The Comlsea6 de Frente steps |Ilto tlle Samb6drome-the Sambadromernd the rrrlour das and floats begrn to parade ln. The Bateria entcrr followhg, rougfrly, the f,rut half of thc E colr. The Judgcs are seatcd along the mlddle of the way. Thc Baterta stops and plays Hqc thc Jute. tfi|le the second half of the Eecola parades by. When the last ala has passcd thcy clorc the p.rde. By thts t|tne the next Escola fs beglnnlng enter, Durtng the coursc of the peradc the Batcrlr pcrfcms many breaks for the notces to s|ng unaccompanrcd, as yrcll as performfng many lolol.Oc brcrb on the percusslon lnstruments, To play wlth three-hundred other percuastontstr ln a group of fiYt- thougand ls truly tite ultlmate ln ensemble pcrformance. It ls one of the moat lmprerttrt end bcruu- ful thtngs you can ever hope to aee or hear,

Brriad o;nd other Northern Stgles

Wtrlle the Bal6o ls probably the most scu-knonrn style from the north of Braz[, thc tcrm tsth- ern styte generally refers to st5rles from reg[ons well nort]r of the state of Bahla, lf lou're .tmPty apcak- lng of reglons north of Rlo, 5ou are tncludlng a nact terrttory and the muslc from thclc rctbn. l. tn hct nuelc from the north. But when r€ferrlng to thc northern styles |tr a rnorc trrdluonrl Brrrllur way, tt ts actually Ore mustc from nor$ of Bahla that ts belng r€ferr€d to, When a BrazlLn mu.lclan tells me that thls ts a style ftom the north thcy are generaly rderrtng to mudc luch ar Cartddrblc, Afo<6. Xa:

Movlng dtrectly north from Rlo 5ou entcr thc state of Mtnas G€rarE, a liand known for lt *lalth of mlneral reaouroes. WhIe not havtng styler ae well known as Samba or Bo6ra l{ova, rneny tnnorrffrc compor€rs and hstrumentallsts fare from thls rcgon. M ton Nasctmento (born fn Rb but r.ltcd ln Mhas Geratsl, Tonlnho Horta, and Wagner Trro are three of tlre most wcU kno*rr. Thc .odrl cu.tqns of Mhas are generally more subdued than tn Rto and the regon fs safd to havc a qufct end m]t tlcal

l9 tsrasifran lPerausion

quallty about tt wlren corpaled to Ro, Bahla 6 S Paolo, It fs easy to hear tlls lnf,uence |n the muslc d M|ltqr and Turlnho, but mustclans from tlds regldr arc also well laroum fc rrcorporaurg the r|fluenccs of many styles lrnto thetr mustc to develop tnto thef own wry untque Brazlllan sfles. Along wtth other popdar hadfan musiclans Aley hgan aendoehg th€se Etybs rn Belo Hdlzqlte, tJre ca$tal dltflnas.

Movmg north from Mtnas you enter the state of Bahta, In 1549, Portugal's colonlal gorcrnment for Brazll was eatabltshed |Ir the ndthern port clt5r that would become Salnador, the capttal d Bahla. (salvador went on to become the capltal of Braztl untll 1763.) Over the n€rd three centurles, thousands of Afrlcana were brougfrt to thls area to work t]re cocoa and sugar plantatlons establlshed by tlte Portuguese, Most of the Afrtcans brouglrt were Yoruban. Thls ls the predomlnant Afro-Braztllan culture |r1 thts regon and thls re4on has the htg[rest concentratton of Afrlcan descendants tn Braz[. Tlxls regon mahta|ns the most African herttage of any area of Brazll. Salvador, lts capltal, fs sald to b€ the most Afrtcan of all Braz fan crfles. Candomble, Capoelra and Afor€ are all rrcry altve ln thls regfon and have been tntegrated wlth many other styles of muslc from Braz , the Carlbbean and the Unlted States to form newer Afto-Braz lan s$les. Carnaval parades and fesuvlues |Ir these rcgons are thor- oug[rly Afrlcantzed, mostly featurfng these song forms, Althouglr most lmown for these muslcal styles, many famous Samba and Bossa No\ra arttsts ortghally came from thls regon. One of the most popuLar songu/rlters from thls regon ls Dorlval caymrnt who bas€d many of hts pleces on the folklore and regtonal styles of Bahta. In addtuon to these folklorlc styles, thls regon gave blrth-actually a rcblrth- to tlre Bata6 and tts many derl tlons. The tradltlonal, folklorlc Bala6 was the muslc that accompanled an Afrlcan clrde dance, but tn the mtd-forues, an accordlonlst named Lulz Gonzaga, (ortglnally fron the state of Pernambuco), recorded a song called Bata6 that he had co-compos€d wlth Humberto TeDletra. A new dance and muslcal style emerged and became extremely popular almost tmmediately, Conzaga tB known as the klng of Bata6. He also popuLarlzed other regtonal styles llke the Xando, Xote and Cooo. Another hlstorlc muslcal figure ftom these parts ls Jackson do Pandelro, known for hls development of the Coco and the Enbolada,

Movhg even further north ls the area of Recfe ln the state of Pernambuco. Tt[s regon ls also steeped tn tlre Afrlcan tradtuon and song forms. Another style called fteDo was derreloped here and liater ln Bahia. Thls stJde features o

Tlre musical styles from the northern reglons of Braz have not enjoyed the world-wtde rcoognt- Uon that the Samba and Bossa have, but they have had the strongest hfluence on the developmcnt d all Braztllan styles and hane also tnfluenced the mustc of carlbbean and South Amerlcan stJdcs rn thrs general area, There ls a bottornless pn of rhythms and songstyles to er.plore from thls area.

Now onward wlth the muslcal examples.

20 gfuMcttssi.n l;rttmils

The Percusslon Instnrmentg

The followlng ls a llst of the more common percusslon lnstruments from Brazll:

Surdo (8 gpes) Bass Drum usdJor Samba. l, Surdo Marcagdo _Lowest, largest surdo. AIso called the Surdo Marw;n6,. Measures apprcxlnwtelg 2O' x 22" or 22" x 24'. 2. Surdo Respostc _Mtddte-pttched., mHdle-slzed Surdo. AIso m.Ud the Ca,nfru.- Surdo. Measures approxlmntelg 15' x 76o or 16' x l8', 8. Surdo &rtafur _Htghestpltchedand smallest stzed Surdo. Measures apprcrtmatelg 72' x 73" or 73" x L4', Zrrhwnbo, Bass Drum uscdJor Balad and other northern styles. Ago-go Ago-go Bells. Tvlangulo _Trilangle. &lxeta Wood Block or Temple Block. Clwcala Me tal cantster shakers. Genza W eau ed baslcet shakers. CoJtaso; Gourd shaped wlth a handle and beads utrap@ anourd lL Rceo-reeo _Metal scratcher. To'lmbo"tm_ S mall tamb our tne - shape d tns trument ut tthout t lrqle s fuy ed wtth a multl-prorqed stlck Pandelro Braztltan tam}riurtnc. Aplto Samba whlstle. Culco. F-rlcttan drum. AIso mlled a lton's roar. F;ephfiquclRepi4rra _Small h@h pttchd douhle headed drum usd b play solo anc the Escola de Samba. Ataho,qtuc (8 fipes) _Conga tgpe hend drums used tn Candomble anrd, slmllar Afrv Braztltan stgles. I. Rum_Largest aJ the AtabaEte. 2. R;untgti _ Mtddle- slzed drum. 8. L& Smallest oJ the Atabaque. Cc.rlxt Smalt weaued basket shakers ortglnally used wlth the Bertmbau tn Capetra muslc. Bel.[mbau, Bow-shaped tnstrument orlgtnallg used to accompny Capoetra danctng. Plaged wtth a small stlclc, catctxl and a cotn or metal washer. Catxa Snare Drum. Pratos Cgmbals.

2l Erazi[ian gacussion

Tips for Getting the Right Sound and Feel on the Percussion Instnrments

you may have to acquaht yours€lf wtth some conc€pts that may be unfamlllar to ]tou tn ordcr to get the rrgbt sound, some are ofa techntcal nature, others are more tnterpreuve.

when you etrlke a drum, or any part of a drum Bet or percusalon lnstrumcnt,-you havE at lcast three constdeia$ons that \r'tll affect tfrl type of sound pull get. One t3 what part of the suck you arc playhg wtth-the up, the shoulder or the butt end. The secud ts what tJ/p€ of stroke ],ou usHll irpjtto'i1", downstrole, open stroke, dead-sucHng stroke, accented, unaccented, loud, soft' gltostcd. ,tirtrd ts what part of *rjsurface you strtke. Vlrtually any part of the lnstrument can be plaJrcd--{tot yourself playlr4i_sounds never Just the usual-parts. try operrrnlnUng wlth thts. You may hear 1ou've ihtU"g tite rrgSt sound-and feel tn these styles requfes the us€ of these varlou! stroke iUy"a'tfrfis-parucufarfy Uefo.". aiaa-suilcng, uee of the should€r of the suck qr the rrde qlmbal c hr'hat' and rtm shots and buzi strokea.

Ttre same myrl,ad of sounds are ava able on lnstruments that ],ou play wlth-your barc hand. The shape of your tiand, what part of the hand strlkes the surface and what part of the surface 5rou ptay aU crearc amerent sounds-. It ls necessary to develop control of all the varlous sounds tn ordcr to 'mdke the pattems you play feel rlgbt and to have a broad vartety of sounds at your dlsposel.

In terms of muslcal concq)ts, the way lou feel and pl,ay each parflcular st5de wlll bc dtffcrcnt' but there are eome general thhgs cornmon to many Braztll,an sbdes.--or at least to styks of a g\rcn retcr. Stylee ftom ifre nortfreas'i share c€rtaln characterts ca, aq do rnrtous Samba stylcs. Ttrere wlll be-more speOnc aetal on each style tn fts respecttve chapter but here are some ge.neral fccl factds to k€€p rn mtnd.

phrase to the last note of the bar, and the beat, whether ln a Ume feel, llll, or |n Parts of solo phrases. Thls glves a feeltng of forward motton to the groove, rather than playrng the downbcats' whlch gve a feellng of cadence to the ume. Here are two Q.amples:

2. '|fi/t t t v t t) ln --Z

22 Thls lustrates the prevlous conc€ph ln two very common rhythmtc phrarc! ur.d |Ir mrrry Brazlllan styles:

If you learn to suck the followlng phrasc correctly, you nrll be very closc to capturtng thc essencc of the Samba rhythm. The key ls to alur the three rlgfrt hand strokes and pull b*k a llttle on the ttme.

Another common element ln all SambaE lB tl:e short. unaccented notc on the dornbcat ard the longer, heavler note on the upbeat of each bar.

Here are two rhythmtc inflectlons eommon to many styles from the northeastern retlone.

l. 2. lt

All of thes€ rh5rthmtc elements are \rcry Seneral, but they are lnteglal clrnponcntr ln Sctttng the rtght sound and feel. Llsten for them tn the murlc you hear tn thls ldlom, Pracuce playtn! tlmc fccls and lmprovtshg around each of these.

23 tsr a.silion I erats s i.on

Surdo

Ttre surdo ts a wood or metal barrel-shaped drum wlth heads on both sldes. The heads ean be calf-skin or plasuc. It ts played wlth a mallet ln one hand and the flngers and palm of the other hand' Tlre mallet ti made of etther felt or natural anllnd hide and posstbly some flller materlal coverlng a $rooden b€ater. Whtle one hand strlkes the drum wlth the mallet, the other mutes and/or plays eome supporflve or decorattve rh3rthms around the maln pulse, Surdos are most commonly and tradlflonally usei ln Escolas de Samba where three types-and many of each typF are us€d, An Escola tlDlcally has twent5r-flve to thlrty-flve surdos ln lts Baterta. Ptctured above are rtous slzes and mall€ts.

There are many actual slzes of surdos, but they all fall under three baslc categorles:

l. Snrdo ltlcrrcan&orSurdo Mareagrio. Thts ls the largest and lowestpttched of the three surdos. It ls responslble for playtng the stronger {and lower prtched) upbeat of ttre Samba. It ts the predomtnant surdo responslble for carrylng the bass or foundatlon rhythm. These drums measure approldmately 20" x 22" or 22" x 24' , 2. Surdo Resposta or Contra,-sttrdo, Thts ls the mlddle slze and mlddle pltched drum of the three. It ptays the llglrter downbeats of the Samba rhythm. Thls drum would only be used lf the large drum-the marc€u16-ts used. These drums measure apprordmately 15" x 16" or 16" x 18".

24 SurJo

3. Su'.do.&rtador. Ttrls ls the smallest rtze and highest pttched drum. Cortadc means cutthg, Thls ls what Urls drum'. part do€s. The s]Dcopaflonr and varLatlonr of the Samba are played on thls drum. It cutr between the morc ltablc o.theto rhythm. d the other two drums. It ls also mostly ulcd ln large €ns€mblee. These dnrms meaaure approdmately 12'x 13" or 13" x 14".

All three Surdos are usualbr used ln largp eruGtnbles. In small groups, dl d the rh3rtlmr rrc usually played on one large surdo by one player. Thc patt€rns pla3red and what the lcft hend dq dc- pends on whether all three surdos are playhg or Jurt one player ls playlng alone. Althoug! rthcn oly one person ls playlng all the parts are usually playtd on one large surdo, more tlun qre drum can ba used. Ttrls glves one pla5rer a more tradluonal orchcrtratlon as well as more melodlc po..lblltlc..

Agaln, the surdo pla5n the bass rhythrn, It proddes the foundauon for thc cntlr€ E!coL.-{d thc entlre Samba. There are four baslc strokes used to play the surdo:

l. The leJthand sfrlkes the surdo. Thls stroke xrn mute the head or play an open tonelflgure 7). 2. The rtght handstrtkes the surdo wtth tlrc mailIet wfth no muttngJrom the leJt l:rrr:d,. fhls would be an open tone lflgure 2). 3. The rtght hand strlkes the surdo wtth the leJt hand muilng the head. Thls would be a closed tone-{flgure 3). 4. The rtght hand sfrlkes the rtm oJ the drum wlth the sh$t oJ the stlck Dependtrg on where Aou are tn the pattern, Aaur leJt hand maA or nury not be muttng the head durtng thls strokelfQure 4).

Wure 1 Fpure 2

F'IEre 3 Fpule 4

The followtng sectlons show surdo rhythms for specfflc songstyles.

25 tsrasitinn lPeratssion

Samba Patterns for Surdo

Ttre samba ts always felt and played ln two no matter what the tempo ls. The foundatlon rhythm for the sarnba ls bastcally the downbeats of the bar. In cut ttme, the one and the two. The foundatlon rhythm looks hke thls:

r. ,- | l 1 , I l I

The flrst note, the one, ls short and dead-muted. The second note, the two (s€€Jflgure 2 on prevlous page for hand postUon), ls long and accented. The feellng ls as ff the dovmbeat were on thc upUeat of tlie bar. Thts is not only the w"ay the surdo rhythm ls played, but the way the samba fcels. yiru sfpda t6am to feel the style thts rvay ivt*r yorr en0re body so that pu w l proJ€ct an authcnflc and strdg feel. Followlng lB the most cmunon varlauon of the baslc patt€f,n. 2 r I r I t ,*i ri u

A lafge Escola de samba may have many surdos playlng shultaneously. when thls happcns, tlre medtum-elze Con':d Surdos (surdos resposta), play the downbeats-the oncs, the small, hlgh Swdo Cortador plays the syncopauons and varlatlons, and the low, &rdos MarunA plays the upbeats-the trpos. Remember that beat two r3 the strong, accented beat. FoUowfng fB an cxamplc d thc way two and three surdo elzes would pliay ln ens€mble,

Surdo Respostcr

Surdo Marcagdo

nE ptfen1gl fE surdo or&dor h tlEJotbwtng et@nde unuld uar bosd on tIe sPq& sottgsfb qd tenw an U or tle lfiW?{)tsatlotts ol tl@ plager'

Surdo Resposta

Snrdo Cottador

$urdo Marcantfr

26 Ssih*tep fssur[o

Whcn only one surdo ls plaJrtng, or when or y one slze ls used tn cmcmblc, thrt plrF a pla5rcrs play thc cntlre pattern. Follovrlng are .onc bastc surdo pattern fd thc rrnbl Thc t.f| llne l,r for thc hand hoHfng the Eallet-usua[y thc rtght hrind. T]rc bottom lrnc .hor. tbc lett hrrd functtorr. Note tllat when the left hand ,atc-had ?" fdls wtth a notc |tr thc top Inc, lt fr mu[nt the hcad whlle the mallet strlkes the drum. \lthen the left hand falls opporltc thc r{ht--plqtrl Uy Itsclf-lt trB most often pla$ne|Jruer or ghosted notcs between the matn noter of thc ..dr prttcrn plapd by thc rlglrt hand. When the left hand notc tB ln Irarenthesls lt lndtcrtc| both thc .tdtra posluon of the pattern and the muung of Urc head as the pattern conutrucr, Abo notc thc lor!, rnd short arttcuLatlon marktngs for the top llne.

.'l r=i ':> l. | | - ii" t r

5 rEe ,J\"1 i.| | r dr)tlri t r t

27 tsrazi[inn gerausion

Ttrere are many vartauons and muctr hprovfshg that can be done around thc baslc frame' work, but the fundamental underlyhg rhythrrfc pattern must be malntahed, as tt ls the foundauon for the enure Samba. When practctng thes€ patterns ke€p |Ir mlnd that lt ts lrnposslble to notatc qrcry nuance that takes pliace ln actual perfcmance. E q)cr|tnent and llstcn to the recorded er

Follocdng are common llcke for beglnntngp, endhgs. breaks and \rarl,auons of the groorrc. It ls very oommon to-start the Samba on ttre and or wtttr the 2-cnd as sttoxm ln the flrot tso et(amplc3.

In the follorplng eiample, the flrst note feels llke tt re the dowrrbeat when you fir3t hcar lt' whcn ln fact lt ls ttre upbeat, Thts ls also a v€ry common variauon.

28 SmSegetaas fors:tfr

The followlng gxample ts a rhSrthmlc cllchd for begllrnlng and endlng a Batucada.

It ls also \rcry common to us€ the rlm of the drum for part of the rhythm pattcrn, You wlll lnw two sounds on the rltn. One we'll call a closed rtm sound and one an open rtm sound. Clacd end op.n are determlned by tl:e muttrg done wtth the left hand. The most common pattem ha! thc rtm drylna on the cnds.

Here ls a Rttythmlc Key for the follonfrg pattems:

RH-Rtm Stroke-closed RH-H e ad. S troke-c lo s e d RII-Head Stroke-open LH-Head Sfroke-closed LH-MutIngJor RH Stroke

29 tsruitian lPqctusion

Bala6 Patterns for the Surdo or Zabumba

thc bass pattern of the Bara6 |3 played on the eurdo or a drum callcd thc Zabumba, Llkc the surdo, the Zabumba l,s also pliaycd wtth a mallet and the bare hand. ThlE drum ls not a! o.nDmon as the eurdo tradfionally used for samba, although tt ls qultc common tn sone styles ftom thc noth of Bahfa.

foUowtng are two very common pattems us€d for Bata6. Ttre rhythms on the top llne are plapd wlth the mallet. Thos€ on the bottom lndtcate the notes vou mute wlth tlre hand.

' ' :> r ' - l. r 'r'l lV 'l 1V '

2.r':>"r)

Ir I J I 1V ' I 1V

30 Aoiat tPa.ttrrttl f or llf,e Suto rrl ?twni a

Followtng are three ner5r common one bar varlatlons. They are tntegreted fnto lonacr phnxs ln the nort set of oomples.

l.-o)' 2. .l r r !r. r 'r, | v | lv

3 r 'r' | 1V

These are patterns commor y uacd a! varlatlons to thc baslc trmc fccl or ar the thrrd rrd/or fourth bars of a four bar phrase. All harrc a baclc patt€rn fn tre first two bat! wtth vtdrtfd[ h tlre thlrd and/or fourth bars.

3l l8r azitia.n lP tctu sion

Ag;o-go Bells

Ago-go bells are pa.lrs of bells connected wlth a metal rod. There are also sets of three or four beUs con;ecled together-. Ttrey are usually tuned ln thlrds, held tn one hand, and played wtth a sflck wtth the other. Onie a rhythm ls startsd, the pattern ls generally kept constant erccPt rn less tradt' Uonal settlngs where lnprovtslng varlaUons works well'

Follovrlng are some common patterns for sanba:

lt-\ 2.

The flrst of these ne)

t2.

32 Stgo t cgt

The followtng pattern ls played for the Maracatu:

Thls pattern ls eommon for the Marcha de Rancho:

Another ner5r comnon technlque ls that of lquccrlng the bels togethcr wlth tlrc ccmccttg rod to produce a chlck sound ltlgure Ir. The sound can bc urcd as rhythmlc flller playld tn bctccn thc sucked notes [flgwe 21. You can also hold the bells together wh e ],ou hlt thcn, gMqg Irou mutcd notes lrlgure 3). Thes€ notes become part of the pattem ltself. Follorplng are romc eronflcr. Tr- tda fiarted "X" are ptoAed bg squeezng the bells togethsfor the 'chtck' sound, nE otlErs arc *ge4 ,nth the stl* on the htgh ond low bells,

Ftgure I Ftgure 2 F'tgure 3

As wlth all the p€rcusslon tnstruments tn all thc mrlous songstlnd, the pocCbllltb fc thlthn are endless, Llsted h€re are only a few cornmon pattcrrr!, lmprovls€ to come up wlth ],our o*n patEna and ltcks. To get gotng ]'ou c€n try starthg patterns I -3 above on the second bar.

33 Srazi[ian ?ercrcsion

Triangle

The trlangle was odghally more commotr h the Bala6, but now lt ls also common for samba and other stJdes, It ts played nrlth a metal beater. There are serreral ways of holdlng and pLayhg lt:

I. HeId u.stng a ffiangle cltp-strtklng tnner stde to stde (flgure 1). 2. Hand-held dtrectlg-sffiktng tnner side to stde (ftgure 2). 3. Hand-held dtrectly-strtktng corner to corner lftgure 3). 4. Hand-held dtrectly-strttctng outer stde {ftgure 4).

1 F'tgure 1 Ftgure 2

Ftgure 3 Ftgure 4

34 ffieng{e

The rhythmlc pattern ls a combtnatton of the strlkhg of the trlar4le and thc muung donc rlth the left hand. Thls creates the open and cloEcd tqrcs. Followlng are somc €r€mplcr to lrrcucr. Iifum- b€r one ls th€ most commor y used groorc. Numbcrs two and tlree harrc dlficrenccr that work bctter ln subue sltuauona or tn a studlo wlth close mlllng. They are also good as tcclmlcal crcrct.c..

*Notes mnrked wtth a "+" are muted. The "on m€ans an open" rwn-mutd, shorae.

2. oo++oo++ oo++oo++

3. +++o***o +++o+++o

The followrng are varlaflons for playlnS grooves strlkhg the outer slde of the trran$e:

35 $razi[ian geratssion

Caixeta

A Ca|](eta ls a wood block or temple block. It l,s played wlth a suck or mallet. There ls nothhg compllcated about playtng thrs other than makfng the rhythrns groove rlgbt and getttrg a good tonc. One-derFauve of this sound ls the rh-cltck sound used ln drum set playhg. The fouowhg patterns can be used for Samba or Bala6 at any tempo.

1. 4. ,nO J-rl ) J J J I , u I ,,b|l

2. 5. J J-I; JT; J ,ne,r7 ulj lJ uJ;|| Es lJ lI;[

3. 6. rne J-Iul J rEe J J ]u]J ,)J lJ ,J7ll ,J-7 lt. I

For more varlattons you can start all of the above patterns on the second bar. If more than one wood block or temple block ts used you can break up the patterns between the two pltches.

36 Cfr&eh U;{ Qtue

Chocalo and Ganza

Flgure 1 Fpure 2 F'tgure 3

A drocalo ls a canlster shaker. A ganza ls a drrkcr made from wearcd barkctr. (CaI(Dd @uld rlD &ll under thls category, but we'll deal wtth them |Il a stlon of thelr own.l Slncc thc balkct! .r,c rntly handmarte, they come ln many dtfierent shapes and rlzcs as do the metal shakcrr. Thcy are uandly ill€d wtth sand or lead pebbleo, Ttc canlster l,E mort cornmonly metal, but can be rnade d Pla.tlc. Somcttmes trvo or three metal cantaters are welded together for the brg Eound nccdcd by an Ercolr dc Samba performrng fn Camayal lngure 1 slnws uarbus Ppas). They are held wfth qrc trerd, ln UE ccntcr Wure 21, or wnh both hands at the ends (/?gure 3). It rccms obvlous that you play lt by rtEkfnS, but there ls a certatr feel you must get out of the etghth notec. You must also be able to accctrt ar wGU t glrost some of the notes. There are also many trlckr pu can dwelop to get lntcrclung llckt wtth drc or two shakers slrnultaneously. Flrst try to play €ven elghth notes, then add the accqrt!. Try play'q thc dolrmbeats away from ]'ou and the ands towards jrou. At slower tempos use blgger moflon!, At hghtcr tempos, vrlst strokes are more efiectlve. Accents are lltUe snaps of the wrlst.

For thts laet e)€mple you need a long and largp chaker whose beadc morc rlmly ftorn drc €{|d to the other as you fllt the ends. The second bar lr playcd by lowerlng one cnd atrd lctthg thc bc.d. roll to the otJrer end for the duraflon of a whole note.

37 Erazi[i.an lPeruusion

Afox6, Xequer6, and Cabasa

Ftgure 7: Varlous tradtttonal uersions Flgure 2: Newer uarlattons

Tradfuonal Afo(€s and Xequer€ (Sheker€) are made ftom gourds, so there are many dlfrercnt shapes and s s due to tt behg a natural materlal. Certaln muslcal styles requlre speclf,c slzes and typ€s of thes€ fnstruments. The shape of the gourd for the Braztllan Afox6 varles, but th€ more common shape conststs of a round part of a gourd whlch forms the head, and a part that tap€rs down |rlto a handle. The head has plasuc beads weaved or wrapped around it usually ued wrth strhg or cord Lftgure 11. Shekerds tend to be larger h slze, produchg a bigger sound--€specrally ln the bass tone produced by tdttfng the closed end wlth the heel of the hand. Most cabasas made today have wooden handles wtth wood and metal heads and metal beads on the head {figure 21. These newer ones produce a much dtfferent sound than those nrade of gourd. Though very dlfferent, they do harc a sound that has b€en tncorporated urto a lot of Brazlllan as well as other styles of muslc.

There are also almost as many ways to play cabasas as there are varletles of them, In the m{Et bastc approach, t}e rlgtrt hand holds the handle and turns the cabasa. Ttre left hand holds the head-- the beids. Ttre frktron of the beads agalnst the gourd produces the sound and the dldrng of thc be€dE as the cabasa ls tumed produces the accents and rhythm lfigurc 3). Another method lnvolves shak' tng the cabasa and playtng tones wlth the palm of the hand on the closed part of the head lr?grure 4).

Ftgure 3 FEure 4

38 f,fmd, Xcqttsl nil ganza.

Wtth the head of the cabasa sttting tn the palm of your hand, turn the cabasa and practlce artlculaflng even etglrth notes ftrst. Then practlce the followlng patterns. A sharper turn and addl0onal pressure wtll produce accents.

Another rcry dlfierent sound iB produccd by holdtng the head uprtglrt and rhahng thc cabaea back and fcth (/tgure 5a). Thts produces sharpcr and shorter notes. Wnh tl s method, (holdlng fte cabasa ln the right hand), the left hand ts uscd to play rhythms and/or syncopate. U* thc palm end heel of the left hand. I play the cabasa trrto the palm of my left hand for forward4ownbcet---acccnts Wure 6bl, and brlng the left hand around and strlke the cabasa wtth the heel of my hand ar lt lr movtng back towards me for the upbeat accents lflgure 5c). A long tonc ts produced by rtnkrng thc top of the head-the beads--.and stmultaneously turnhg the rtght hand ln toward! you whtlc movln! the arm up and away from you and then back down, allo$rtng the beads to rotatc frecly [flgure 5d). Ttrls takes some dolrlg to get lt happ€ntng conststently.

F'tgure 5a Ftgure 5b

Ftgure 5c Fgure 5d 39 tsrazi[ian lPerarssinn

pracflce the followlng patterns, Flrst try to artlculate even elglrths, then add the accents. Tty the downbeat accents playln€iforward and llrto your hand, and the upbeat accents back towardt l'ou and wtth tl.e heel of }'our tt""a. Improvlse your own pattems. The posstb fues are endlesa. Ttre llne on the Ued note tn a@mple four l8 a long note played by sphnfng the beads.

t. 3.

Here ls a four bar example combtnrtxg the examples above:

Experlment wtth the above combtnatlons and make up your own patterns. You don't have to ltmtt yourself to cut ttme. Here ls an example ln seven folloured by one lrn flve. Varlous odd-tlme approaches are dlscussed later lrr the book.

40 f,Fb#o

Reco-Reco

Ftgure I Flgure 2

The reco-reco ls baslcally a scratcher. Mo6t .re flrade of efther a metal bo. elth rldgr. cut hto thc tq slde 6 a metal tube wlth sprlneis €!.tended acr6. tt! lcngth (J?gure I ). Thcy ere mo.t qn8dy u.ad tl Escolas de Samba. It mostl5r resembles the efiect tllat lcratctrlng a wastrboard wurH ttaE, tt || paq,ld by slldlng a metal, wood or rattan suck agalnst the rldgpr (foure 2). The suck almolt nou lccu tfr r56cr. Pattems conslst mostly of conttnuous elghth notc! wtth addfuonal pressure fa thc lGrtr, Wfsr qu.rt r notes appcar, the scratdres should b€ longer. kactbe thc foflowlng pattems, frrt trylnXl to pby catd|t nt dghth not€s, then addlng the aocents.

Maracatu9

Bala6 Marcha rBO ]q>:>r ,)J J nl ll-J fl

Here are some varlailons: l.

>>.>

>>>

4l tsrazitun geratssbn

Tamborim

Flgure 1 F-Igwe 2

The tambor|rn ts slmtliar |Ir shape to a mtniature tambourlne but wlth no J|Itgles. It ls playcd wlth a thtn wooden sdck or a three-pronged plasttc or rattan sttck, The flngers of thc hand holdtr4 the tambo['tm are also us€d to dampen the back sfde of the head to produce open c closcd notca (r?gut" I ). There are two waye lt ts commonly played. The firet and most baslc ts to pliay the top of the hcad wnh the atfck Wwe 21, adJustlng the open and close the notes wlth the fingers on the underelde of the head. Dlfierent stroke tJ[tes are alao used for a varlety of sounds: l, Tlp o,f st/r,k n @n@lr oJ hmd 2, Rtrn shots, 3. Rtm shots wtth shoulder oJ sticb 4. Arents. In Escolias performlng ln Camaval sc\rcral arc uscd ln unlson to orcheEtrate rhythmtc passageE.

Pracuce the folo$rfng patterns. The notes marked wlth a "+" are played wtth the fingerc muung the head. lhose marked wtth an 'o" are open notes wlth no mutlng'

l. ++o oo J J J "JrIlJ[ 'no ')l 2. +++ o ++ + o o o rEO ",fll J Jl - )- Jr,bJ | il

42 tmbarin

3. +o + + o -Jr .,]il rEe )".bJ IJ J .l

4. + + +o + + + + rEe "Jr)")llJ .l "Jr)il

5. + o ++ + ++ +++ + rEe ")J | "l Jl')IJ" \

6. + o ++ + o o ++ + rE$ -r,rh, l JJ ")l J J JJ")il

As an addluonal embelllstrment, the f,ngcrs may al.so play aju,er rhythm qr thc undcr.fdc d the head. These notes play between the note! bclng struek by the suck. Thl. crcetcr mcc d. tro- handed pattern, The fnger notes funcflon llke ghosted notes. Followlng arc two oomplcr:

4(t :Brasilian lPeratssion

Ihe s€clnd vray to ptay the tamborltn lnvohrcs a ltttle more technlque. Tradluonally thfs ap' (shoron belou), altho-ugtrr lt dso bc dorre proactr is plapd *tU" i *,t1"--protrgd beater n exo@cs -can dependrni on dre sound deslred. T6e other hand rotates the tamborlm so the ttrt tigii; unacccntcd beater" str-tkes ln"u"k two dtfrerent-spots wues 3a through 3c). This gfves you accented and pla!rcd wtth notes to produce the samba paitern-ttittt"a Uao*. Fo11owlng le the most common rhythm thls technlque'

T.hts pattern would be played on two parts of the tamborlm. The notes marked 'R" ln the pattem wouid be played at t1'e t6ttom of thitambortm as shown 1'' Wure 3a;, Thls ls E1'11116r to the il"t t""tn fq.t" pti""ttt"d ott the prevlous page. The stroke marked'L' lrr the pattern ls played at th€ top oitft" tamU'orrm ana rs execuied by the oiher hand rotaang the tamborlm to m€et tlle sttck. You (when the ttrt rk of tht" stroke as behg playe-d by the left hand strlklng the suck lt rotates "untamborm), hstead of the stlck strtkhg the tamborln (tlgures 3b otrd 3cl'

Pgure 3a Ftgure 3b Ftgure 3c

44 Milo

Pandelro

The Pandetro ls the Braz tan tambourfire. Tlrls t! an lnstrunent that rcqulrcr co[r!|dcrrblc technlque to play. It has been doreloped and mastercd by vartous muslclans to thc polnt of truc arUsfy. T1re pandetro ls rrcry often a featured solo lnstrument ln E'ecolas de Sambe. a! sdl at ln contemporary groups where a percusstontst ls featurcd. Tfaduonal Carnaval solo. oftcn hcludc theatrtcal trlcks such as rollhg the tambourhe acrors the ctrest, or down thc leg and ofi thc foot, splnnlirg them on the ttp of the flngers or playhg two tambourlnes shultancoudy. A mudclan by thc name ofJoa6 de Balana (Joa6 Machado Guedes) ts rald to have lntroduced the pandclro e! en hatru' ment |Ir the Escola de Samba

Pandetros can have plasflc or calf-skin heado. Thcy come |lr dlffer€nt slzcr Ynh lO' .td 12" bctng the most common, Calf-skh heads produce a bctter 8ound, but pres€nt tunfng Probhm. |. thc weather changes so plastlc headB are more ooqrmon.

The pandetro ts held tn the weak hand. Ttre fingers, thunb and heel of the other hand rre urcd to strtke the top of the head. Open and cloeed toner arc Soverned by etther the thumb c mddlc ftt1pr of the hand holdrng the tambourtne. The thumb can mute and release ftom the top of the hd Wtttc f ). The mtddle ftnger can mute and release ftom the underslde of the head [flgure 2]. Whtch mctbod ynu use depends on the type of goove you're playlng thc slze of the pandelro, and wtrat you'rc mct comfortable wlth.

Flgure 1 Ftgwe 2

45 Srasifian lPeraasion

Followtng ls a notatton code for the rhythmrc patterns:

1. Thumbstroke near edge oJ head.Stmllar to a rtmshot ?hls wltl be efther an open or closed, tone (flgure 1). 2. Ftnger strolee tn the upryr center oJ the head, Use the ttps oJ theJlrst three fingers (flgure 2). 2a. There ts another techntque used wtth thtrs stroke. The leJt handpluots or rotntes the tambourtne slde to stde. Thls can be thought oJ as the tambourlne sffiklng theJtngers Instead oJ theJtngers strlklng the tambourtne. In acfinl plaglng tt ls a comblnatton oJ the two mottons (flgure 2a| 3. Thumb stroke or heel oJ hand tn lower center oJ head (flgure 3). *A 4. Ftnger stroke-s ame as number two (flgure 4). number 4 strolee notnted wtth an arcent means the note ls a slap stroke.

\tgure 1 Wure 2

Ftgure 2a Flgwe 3 F-lgure 4

46 Nziro

Pracdce the followlng er

.).)olo) 12 3412 34 12 3412 34

1 2;; 2 1 1 3.

Followlng are two baslc Samba patternr. The maln difference betrccn the tro l! thc ffirt ln the second one.

+ o + o

a >.- > 12 3412 4 12 3412 4 2.

47 tsrazilia.n Qeratssbn

Here arc stx rtaUons for the Samba rhythm. The bottom llne ts thowhllyou the rhythmfc outltne of the notes emphastzed by the rtEht hand. It also shows you when and when not to mute thc head to play the open and closed tones trdtcated,

.>-:>.)- 123412 34 12 341221 1.

+o+o

.)- 12 3412 34 ',| 2 341221 2.

+o+o

.)- 12 3412 34 12 341121 3.

i"z;; zz; ;zz l i zz l 4.

+ oo + + oo +

.)-.>>'- 12 3412',,2 12 341121 5.

+o+o

.).oao 12 341121 12 341111 6.

48 tuilcho

The followlng pattern ls for a rhythm called Mardxe: .>-. 12 341 1 112341

The followrng patterns are for a Marcha: .)- 141 1 4 12 3 4 l.

o + o :> - - 1 114 1114

Thls pattern can be used for playlng Frevo:

o>'-.) 1 141 14

The followlng two patterns can be used for the Samba de Partldo Alto:

1411 4 21 1 l.

o+o +

>..-

1 4 321 1 4 21 1 2.

o+o + 49 lBrazilian lP ercus s ion

Followtng are some bastc odd ttne rhythmfc patterns for pandelro. These meters-af,e not as -Ume, common as cut but are common ln contemporary composltions. The baslc samba ftamework ls sull tn the pattern even thougtr the left hand ls not notated. Use the aruculaUon marlJngs as your gulde for playlng the open and clos€d tones.

:> . )-; iz 3 412 3 41 1.

.7.==-.-. :>-.- 123412341212 123 4123 41212 4.

+ o

>> ---a-i ; --aa 2 3 41221 12 3 41 1 2 3 4112112 3 4 1 3. 5.

Follow|Irg ts another technlque for playtng the pandelro, Thls fs actually the most baslc, and eastest way to play a Samba groove. br thrs method, you move the tambourtne up and dorrr wtth the left hand betwien the strokeJ of the rlgtrt hand [/tgures I & 2]. The notes bet$een the f,nger strokes are sounded by the Jlngles as you shake the pandelro up and down'

Ftgure 1 Ftgute 2

Follourtng ls a common pattern for Samba. + oo

Here ls one for the Baia6:

50 f,pito

Apito

Aplto la the word for whtstle-ln thts cacc, the Braz lan Samba whlsue. It war tredtfdrdly carv€d ftom wood. Todays whlsues are made of metals llke brass. The whlstle has holer qr ltr ddcs whldr are conered and uncovered wlth the flngers to produce dlfierent tones as you blou lnto tt. lhe aplto ls used both to play rhythmrc pattems and to announce elther an enscmblc pa.rqge, e nct s€cflon, a beglnnfng, or the end of a plece. In an Escola de Samba, the Meste dc fute.tb wol.iln ENe these cues. To hlm the whtsfle, along wtth thc rcphlque (presented later |n the book), lr llkc the conductor's baton. The aplto ts capable of productng loud and soft, long and short, and opcn rtd closed tones, All of them are used to add vartcty and color to the patterns playrd. Thc whlrUc c.n also play a repetlu\rc pattem that functtons as part of the entlre ensemble's rhythm.

5r EraaiIinn. lPerats s i.o n

Cuica

The cutca ts an hstrument whose orlgfns are less known than tlrat of the other Afro-Brazlllan lnstruments. It was brought to Brazll by Afrtcan--arobably Bant(r---slaves but can be traced to other nortlrern regons of Afttca as well as the Ibertan pentnsula. It ls also called the lton's ,@r,frbtbn drum and less commonly, the pulta.In tts early hcarnauons lt was atso used by hunters lurlnSlltons wlth the growls the hstrument can produce, There are many slzes of cutcas, and although generally cat€go- rtzed as a percusslon lnstrument, the culca ls not struck. It ls a metal or wood canlster wtth a calf' skln head on the top stde, Embedded on the underslde of the head ls a bamboo post. Tlre thumb, tnde:( and mlddle ffngers of one hand hold the rod on the cutca's tnterlor wtth a small pleoe of damp cloth. Ttre rhythm ts arucul,ated by the pushtng and pu rng along the length of the rod (&ute l). th€ other hand helps hold the cutca and wlth the flngers or thumb €xerts pressure on the }JLead Wtfie 2 and 3). The pressure ts e:

Ftgure 7 Ftgure 2

Ftgure 3 52 Pracflce the followtng rhythms. 'IYy to get tm pltches and keep them conltant. Gredudly try to ortend the range and use more pttches ln the patterns.

Here are some more s5rncopated patterns:

iE$'J )JffilljJIJ-ht

Here are some common ltcks:

3. 4.

J ,1,,1, ,1, $,t J J.l,lJ t t

53 lEraai[inn gerausion

Atabaque, Congas and other Hand Dnrms

F.tgweFtgure l: Atabaque.Ato},cqltrc, L,-R:t-P(. L6,L4, Rumpt cndand RumRum F-Igwe 2: Con&]rwmry Congas and Botrgos '.

Atabaque are Afto-Braz lan hand drums---4onga llke drums-that are frdlgenous to the north' ern style of candomble and related tradltlons. T?rese songstyles rematn mgsi lqked 9d hfluenced by the Afrtcan Yoruba tradltton. There are three Atabaque, the I'C' Rumpl arrd tJte Rum (figure I ). Thclr tradtuonal use was In rttual and religlous muslc; they were used to summon the Ort!4s-the gods of the candomble religton. some contemporar5r styles from the north also now tnclude them tn tfrelr mustc. Ttrey are pt{rea wrtfr Ure frands, trvo strcks or sometlmes wlth one stlck and the hand dep€nd- fng on the itryUuir and the drum you aIe playlng. More generlc contemporary hand drums ltlgure 2F coigas and tbngos-are common for SamUa, galaO, and other contemporary styles such as Brazllian !an:, t]uf'rk and tf,ef off-shoots. It ts now very common to hear adaptattons of common, Brazlllan iftytft-" played on congas and bongos. Kaep fn dnd that |:| you want to play hand drums you need t" iwaop Uti tecfrnlqueJof these tnsiuments. You have to hane at least the followlng bastc stroke t54res down to play flre hand drums: bcss tone. oPen tonea, closed. ar.i, Pallnn tor|flr,. aW (8 tAE att 6ietu closed.-and mtrte4, and the rocklrg motlon betutetrln t E ,?4,el u.dJlttgeB qf tlE hilra Examples of these techniques are lustrated on the ne)d page.

Followlng ts a set of rhythms for the Atabaque based on the Afox6 s$e.

o ++ Ti

Rumpl

Rum

64 Ata6a4uc, Congu nnd Otfia !{t*t Dn ns

Followlng are examples of the baslc hand stroke tlpes for the conga drums.

Flgure 1 F$ure 2

Eass Tottcs: Played wlth the heel of the hand on the center of the drum lflgures 7 and2l.lt you're playtng srttJng down and holdtrg the drum wfth your legs, you c€rn plck lt up off the floor to get more sound 3 and 41. {flgures FSwe 3

FQwe 4

Open Tones: Played wrth the ftngers and palm towards the edge of the drum. These tones should rlng and produce a nlce round open tone (flgures 5 and 61.

Clased. and. Palm Tows: Played wlth the palm and/or flngers on varlous places of the head dependlng on the sound destred. These tones should be muted and not rlng {ftgures 7 and 81. FSwe 5

Ffiure 7 F\ure I FVurc 6

55 Erazi[inn lPerausion

Flgwe I Wure 1O Ftgure 11

Heel-Toe Rrockhtg Motloru Played by rocklng between the heel and toe (flngertfps) of the hand. These tones do not flng. They are tlre double strokes of the hand drums. (Ftgures I and 7O are the LeJt Hand sequence. Ftgures 11 and 72 are the Rlght Hand sequence.l

Slqp Tones 3 tlpes: Closed' played by slapprng the head and holdIrg lt so the tone ts closed {ftgures 13 and 141. Wen, played by slapping the head and releastng the hand from the head allowfng the tone to rlng {ftgures 15 and 161. frIuted, played by other hand 77 slapplng the head and muttng lt wrth the lflgures Ftgure 12 and 18).

Ctosed. Stcpe Open Stqps ff;u/,etl Attrlrc

F$we 18 Ftgure 15 Flgure 17

Ftgure 14 Ftgure 16 F'lgure 18 56 Ata6aqw, Cryas flnd otficr r{et l Dus

The followlng patterns wtll sound good wlth most of the songstyles prelrcnted tn thls book. They wtll also work ln a more generlc Lattn-Jaez sttuatlon where you want to play a conga or bongo rhythm wtth a Brazlltan flavor.

Tttls pattern comes from the Parttdo Alto. The notatton code ls as follows:

O = Open Tone P = PaIm (closed) Tone S = SIap H = HeeI Stroke oJ Rocktng Motton T = Toe strolce oJ Rocldng Motlon o+oo+oo

OPSHTOPO HTOPOP

These two are for the Bala6: 'nef+oo +ooo 'lj lrj'lf f rl

++++ o 2.

Thts pattern ls for the Bongos. Baslcally thc lamc notauon code aa abovE appuct crccpt thrt dr the bongos the heel/toe rocldng mouon ls pla],cd more wlth the thumb and flngpr. end thc rlaht (R) strokes can be played wtth elther one, two, thrcc nngers or the whole hand dcpcndtrrg| m thc eund t€xture you urant.

RHRSRHRT RHRSRHRT 57 tsrazifinn lPerausion

Caixa

The calr.a's (snare drum's) us€ ln Afro-Braz lan sbdes has lts roots |l|r the Portuguesc mllltary parade st5rles. The calxa's most prevalent role ts ln the Samba Marcha, the Batucada and rclatcd Carnavat styles. although tt ts also lncluded ln many other songstytes. By Amerlcan standards, tt ls play€d wftha relau\rcly mtntmal amount of actual anare drum tedmtquFmosUy singlc ctrokcs, doubles and buzz roles.+ut as tn playlng the other tnstruments, the feel ts errer5rthfng. It ls eEEcntld to artku- late these slmple patterns focuslnlg on the feel. The @[E ls also an lntegral part of thc Escola dc Samba.

Followlng ls the bastc framework for the snare, Thts bastc pattem ls further enhand by buzz' strokes, rolls and other accents. The staccato notes are plapd by sl4frtly accenttng 6nd pfndtlng on the fulcrum of the sflck udth the thumb and lndex and mtddle ftngers. fhrnk short note and ]tou'[ get the rtgfrt sound. Ttre rolls are most commonly what I'll call a sloppg buzz stroke- It lsn't-pla1rcd llkc a clean rudfmental or orchestral roll. Baslcally accent and press tfie sttck on the head to buzz' You can also try to play a shorter, staccato buzz strokes |f you're playlng contlnuous elgfrths, the tempo l3 fast and you're trylng to buzz some of the elgbths,

Folloqrtng are some @mmon pattems for samba, Keep ln mtnd the lnstrucUons from the prevl' ous paragraph. ltre legato notee-the three consecuuve rights-ln patterns 2 and 5 arc played by maktng one stroke for the flrst of the three rtghts and then Just lettlng the other notes fall. Tt e ldnd of slurs the three notes. Thls ts also descrtbed ln the Trps chapter . The notps tl?d':t hoJe tLe st'4'Hrtg "RL" on one note arc OlaAd ds d fiDo-handed buzz,.

58 CoiKn

RLRLRL

5. RRLRRRLR

>:>-oaa

6. RLRLRLRL RLRLRLRL

7. RLRLRLRL.RLRLRLRL

Followtng ls a rh5rthm for the dancc style called Mard:re. It also works vrry wcll for the Bata6 and some Marcha st5rles:

50 Erazi[i.on lPerassion

Pratos

pratos ls the n€une for cymbals. For an Escola, the most commonly used cytnbals are a patr of hand-held crash cymbals wtth handles-stmllar to a palr of orchestral cymbals. They are most commonly used to accentuate downbeats wlth €ul occastonal syncopatton.

Followtng ts the most common pattern. Many other syncopatlons are commonly played. t,,L 'Es'i' l,J..fu

60 W&la.

Replntque

Ftgure 1 Fpwe 2

The rqrblque, also called reptqu e Wure I ), lr a small double-headed drum played wlth e rtlck ln one hand, with the other hand playlng dlrectly on the head (/future 2). It oftcn lcrvc. a! a rcrt of lnternal muslcal conductor ln the Escola de Samba playhg cues for the enscmble, It la utcd fa tolo fllls, aceentuatfons and rhythntc \rarfaUons. It ls allo fcatured as a solo lnstrumcnt. loEcttmc. dly- lng htroductlons to a Samba or sololng on a Bdar@da.

Duc to the rrnprovtsauonal nature of the tnstrument, lt le very hard to notetc a[ of thc rhythmt played on tt. Followrng rs the bastc trmekeephg pattcrn. The rhythns played by the lcft hand crn be muted strokes used asfler, open tones, or saaps.

R R R R

Here ls the bastc call used by the leader of the ensemble to start the sarrba:

RLR L RLR

Here are three common hcks you can use aa varlaUons or solo fllls. Number three is ftom the tambGtm, but tt works well here too.

oa 1. a)ao

RRLRRRLR RRLRRRLR 6l tsrazi[ian lPeruusion

Caxttri

Ftgure 1 Flgwe 2

Ca:<|)

t) 2t araoaaaaaaa'o'

Followtng are odd meter comblrxatlons for the caxbd:

62 lWnba.u

Berimbau

The Berlmbau was brougbt to Braz from Angola wlth the Capoclra mudc of the Bant6 rleves, It ls the lnstrument used to accompany thts muslc. The Capoelra dance relcmbler the rpcrrtrg tn a marual art. Although tt ts ltke a deplcUon of a confrontaUon, its gracefubircss relcmblca thst of r ballet. Capoetra further evolved ln the northem part of Braz Bahla and other rcglonr ln thc.tate of Pemambuco. -|II

The firstrument ls made of a wooden arc--&om a wood called Blrlba-wlth a wlrG rttehcd from end to end of the wooden arc formlng the shapc of an archer's bow. A round gourd wtth rn opcr ng on one elde l,s attactred to the lower, outstde end of the bow, appro)dmately 2O to 25 ccnttmctcf,r fron the bottom, fith a plece of cord. Thls functtons ar a resonator, The cord lt Ls attachcd wlth || d.o tlcd around the wlre. You pull on the cord to bend the pttch produced by the wlre strlng. You dtcr thc tone by pufung the gourd agFlast and away from your body, thereby opentng and closlng the hole, tttc other three components are a coln or metal washcr, whlch ls held agalnst thc wlre, a ltDall rtlcl to strlke the wlre and a small ca)drd. (See lllustratlons on no

The many dtfrerent sounds and nuances avalliable on thls tnstruncnt and thc lmFovlrtlqral nature of the varlatlons make lt dlfrcult to notate full playlng. Follorvhg arc lomc pattcrnr to let ,'ou started. Begln by playlng two bars of each pattern. Work these two bars tnto a groo\rc and tnprovlre wlth lt by playlng the two bars of the pattern and then two bars of lrnprovlccd variatlonr. Thcn t Le the nerd two bars and do the same. No

63 Erazifi.on gerctusion

Here ls a notatlon key for the bastc strokes:

1. R.H.-Notes on top oJ the ltne are strolees ustth the sttck an the wtre.

I 2. R.H.-Notes marked wtth y'narcab a caxlxt sfroke. 3. L.H.-Notes on the bottom ltne are notes tndtcattng when to hold the cotrt agatnst the wtre. 4. L.H.-l\Iotes marked wtth > mean to close the opentng an the gourd bg pulltng tt agatrwt gour bodA.* 5. L.H.-Notes marked wtth < mean to open the opentng on the gourd bg pushtng lt awagJrom gour bodg.

*The opentng and clostng oJ the hole on the gourd. ts largelg a matter oJ the plager's technhal abttttg 61nd mystcal taste. There ls one common approach Aou can u,se atfirst. Itr/hen the coln ls not touchtng the uttre pla1 the notes closed. When the cotn ts touchtng plag them open,

r5-t 2.

64 fr"WW

The Rhytlrrn Sectlon

Follonrlng are short o.amples of Braztltan melodlcr, bass llnes, harmmlea and comPha Ptt- terns so you can famlltartze lourself wnh how the rhythm eecuon hstrumcntr *uk, and ttth re d the bastc harmonrc and melodic characterlsucs of thcrc rtJres. You can pracuce wtth thcac cnnplc. by recordlr4 them lnto a E€quencer and cutttng ard partfng unul you have dfercnt vampr to plry along wlth. If 1ou don't have any MIDI gear, then rccord them to a tape and play aldtg ttth thrt. f you don't harrc kgDoard chops to play these oomples ynurclf then ask a kqiboard plrF ftEd to lccad then for 5ou. It would also be rrcry benef,clal for you to darclop eone kqDoard rktlb.

W|nat thie Bast Plager Does

As a drummer/percusslonlst, one of your prlrnrry concerns should bc what the btx Plrylr L playhg and hooking up wlth tt. Here are some baslc pattcrns.

lhe flret four examplee are for Samba.

1. D-7 G7

3. D-7 G7 D-7

4. c-lF c-/F

c-/F

65 Erazi[inn gerausion

The next three examples are for the Samba De Partldo Alto.

c7e

3. G-7

The next two examples are for the Bala6.

2. D /Fil D lFI

The next example ls for the Frevo.

l. G7 G7 G7 G7

-ta

The next two examples are for the Afox6.

t. C D-7 G7 D-7 G7

66 'Ifu trtulh,Suion

The next erample ls for the Bossa Nova.

pz l. G-7 c7 (bs) e-z t bs) tbg I

cz tbgl d,-z tbsl pz tbs I

Comping Patterrrt on thle Plano and, Gultar

The complng of the glultar or ke5board playr a ma1or role ln the groorc and fccl d thc rhythm secflon, You ehould be also be famrlbr thesc tn truments' pattcrns. Herc arc eorrc appmcher ftr the varlous stylcs.

Ttre first two are for the Boesa on the guttar. Rcmember, thlE lE a fcah|rc lnetrumcnt d thc Bossa, and the stJde was partlally da,rclopctd cr th€ gultar.

olz

2. rLz pLt G7 G7

67 Srazifnn lPerausion

The next two guttar examples are for the Samba (example 1) and Chorlnho (example 2).

2. nz tbg) cr rbsl

The next goup of examples are for ptano or keyboards.

Samba:

D-7 G7 D-7 G7 2. cLr c6 cLz c6

,, r|57 ,', lff ry F a) ? LUV ? LLI 7 - l-l, t-a .4 4 ,a

Bossa: l. cz tbs I

68 'Ifu *fr!{il,5ection

oe tsrazi[inn lPerausion

Choro: 4.

on the folloudry; page l8 an er(ample of a samba melody and rhythm secflon arran8lcmcnt. It lllustrates some common rhSrttrm s€cuon tnterpretaUons of a Samba. The bass ltne{rawlng ftom Bass E €mples three and four---+rras used througtrout, and the ke]'board compltrg uses the pattcrn from Keytoard Example number two. NoUce the ofibeats tr tlte turnarounds and how those relate to the patferns |It the percusston and drum set o(amples, TYy playtng througb the form ustng varlous approaches on both the drum set and wlth the percusslon.

70 'Ifu ft$fuSoctio;

E-7 YLz D-z obz

c^z D-7 E-7 eh

7l tsruifnn gerausinn

Summary

Havtng completed Part One of thts book, you should now have a baslc understandlng of ttic ctgtns and biclqg;unds of Orese rhythms and song-styles. You sttould also harrc some baslc tcchdcal ddlls on the percugston tnstrunend, and a wcalth;f rhy0rmrc patterns to pliay ln thc varlous !ty4c!. Tfy to memoize as much of thls materfal as you can, and tlsten to and learn as much muElc aa lnr llstcrtlrg ."it rtt tttf" Ttrls w l be lour ultrmate €iulde for how to aruculate these rh5rthms' In Itour try to ldenufy"tyt". and memortze thtnge that you hear repeatedly--cltch6s. These tjDtcalphrasce romc' ufres even tienufy a etyle, and nilny flmee are an tndtcatton of a player's rcal famlliarlty wlth a aty{e. you can thtnk of them as you woutd thfnk of colloqulalsms or slang |Ir a language. You vouldn't went to apply them arttfictally anymore than you would want to speak ln only 6lang terms, but thcy are an tntegral part of learnlng the ldlomattc vocabulary of a style.

As you move on to the drum set, keep |I0 mfnd that what is played on the drum ect d/olvcd ftom the pircusston. The more you can apply from Part One, the more authenflc you can sound'

one f,nal potnt I alvra]ts €ncourage drum set players to learn more about p€rcu3sldl ard I'Grcu& sfqd8t3 to lcarn drum sct. I aiso ettco"rage both drummers and p€rcussfordgts to lcarn,mdc about harmony and melody and hw the other irstruments funcdon---€spectally tf pu are_ rcally trylng to leatn a style and reatty tyng to team nuelc. Thls w make 5our role as a muslclan much mdc qgtf""ttt fq prerlgefy tfrfe r;sdFtou become a muelctan, not Just a drummer. In Bradl, to belqg to thc Batcrla of an Ssdla ae Samta tito be part of an elite class. Ttre same holds true ln many Cuban and Aftlcan cultures. ln Amertca, drurnmers tend to llve wlth the sflgpa o'f Just behg the drummer. ThtB ltlgna fs dlsappearhg because mor€ drunmers and percusslontsts are becomhg total musldanE. To play tn an bcets' As vra! fscota 3ou f,ave to know many songstyles, ihy0rms and mustc tn g€neral,-not Just- the menUoied tn ttre begtnning of the Uoot<, *rere rs a Urg dlfference between knowhg the b€ats of a stylc and krowltrg the stfe. fnd*f"g Ure style and muslc thorouglrly can make ]'ou part of that Glttc clasE. KnowhgJwt the beats tnsures that }ou will only beJust tIE drwvtw.

72 lITu %sence of Arazitiaa tcratssiot, sal :Drwt Set

Part, II

Brazilirl;n Drum Set

Rhythms songstyles Technlques Appllcations - -

73 Tips for Getting the Right Sound and Feel on the Dnrm Set

Thlg matgtal was covered ln part one, but here tt l8 agatn to re&esh 5our memory. Keep rn mfnd the three constderaUons for what t5rpe of sound you'll get when playlng a p€rcusslon lnatrument. .Ihe first t8 the par.t of the sUck you're ptayrng wtttr-ttre Up,-ttre shoulder, or the butt end- Tlre sccond ts the type of sioke you usHn upgtroti, aowrrstroke, open stroke, dea&€Ucldng stroke' accented' part .|It loud, soft, or glrooted.-Ihe thfrd is what part of the surface you strtke ' Vlrtually any of any""frt"a, hstrum€nt can be played-not Just the usual parts. F:xperfinent wlth thl8. You may hear JKtur' self playfng eounds youtenerar played. Thfs w l greatly opand the range of sounds you get.

ThIs hformaUon ls parUcularly lnportant for the drum sek lt ls very common ln thls style to dead-sflck your rtde pattemo on Ore ht-hat or cymbals-not always, but lt shorrld be a techntque Srou harrc undeicontrol. Ustng the shoulder of the sttck on your rlde 11t l help g€t the rlght sound. The plctures below lustrate 6me hand postuons for thts. When you nlV on tfr: drums uae varlous stroke !4es

Also keep tn mhd that orchestratlng your patterns on the drum set dlfier€ntly than you patterns normally do can gve ]rou totally new grooves. Many tlmes ln thes€ stJrles, the suckhg rematl ttre same; you luit mwe your hands to dtfferent sound sources and the feel changes completely' Thls play you nray neuer a€ems obvloua, but 5rou d be surprlsed at how many thltlgs you normally where have trt€d thls.

Agaln, here are some common elements that run through these styles. Phr-a8e to the last note d the bar---qnd the beat-.whether ln a t|Ine fe€I, ltll, or tn parts of solo phrases. This gnrcs a fee[ng of forward moflon to the groove-rather than playlng the downbeats-whlch gIrc a feelhg of cadenc€ to the tlrne, Here are two exanrPles: 2 1.I lE 'EQtt t, v t r) --Z -ra

74 npt".g*tutfr"tWStdMf*f

Here thts ls lllustrated tn two very cornmon rhythmlc phrases uscd tn many Brazlllen r$dcs:

If you learn to stlck the follourtng phrase correctly, you wlll be wry closc to capturtng thc essence of the Samba rhythm. The key ls to clur the three rtgfnts and pull back a llttle qr the tfire.

Another comnon element tn all Samba! lr the short. unaccented note on thc dornbaat J|d the longer, heavler note on the upbeirt of each bar, lt ,*irl ri tt

Here are two rhythmlc lnflecttons common to the Bala6, Afox€, and other northern rt5ilcr.

-rz

You should be able to aruculate dl of thcrc hflectlons ln all your Umc fcclt lnd |nFovLatlon on thc druE sct. Pracflce these by tahng each phrase and bu dlng Umc feel+ yrrbtfqrr r!|d lryovl- gatong around thern.

76 Bossa Nova Introduetion

There are many theortes regardfrg the evoluuon of the Bossa Nova. Some say the purtrto€e was to cool dorpn the Samba,-others Orat it was i result of Braz tan muslclans comlng together wtth Amcrlcan Jazz arflsts and st5les, Whtle both of these are somewhat true, the cool doum vras m(,re a result of the new composl6onai style, and the merglng wtth Jazz took place after the style was recognlzed tn Brazll- as well as somewhat tnternauonally. You should note thougfi, that the lnfluencc of Jazz was clcar ln the comlrosluons and the hstrumental lmprovlsaUon of the leadhg dev€lop€rs of thls Etylc.

Tlre Bossa evolved most dlrecuy ftom the style called samba can#6-an erfiemely popular style of Samba tn the 1940's and 5Os, (The Samba sectlon wtll tell you about ttrts style.) In the l95o's ttt" Su-U" C"o9a6 began to show lnlluences ftom dance styleo of other cultures-cha'cha, bolcro' fox trots and others. Some younger muslclans-mostly whlte, mfddle-class, as they were tl:e ones rcapon- slble for the Samba Cariga6--{ere drssaudfled wfth thls tntegrauon of styles, feelhg lt was dctcrlorat' tng &e qualty of thelr muslc, and dectded to make thelr oerr new sty'le: B9s!3 Nolra, lbo muarciant wio had- a bg fnfluencc on the antecedent styles of the Bossa-parucularly the Samba Can9a6+ere Ary Barroeo, Ihe compoe€r of many tnternauonally r€cogntzed Braalbn pfeces, and gultarltt Nocl n*". nrttt"t .lohtttty-Atf tnfluence-d both players and wrtters |Ir thls style, and gultarlEt Garoto had a profound frlluence on alt gunarrsts who played the Bos8a. lhese hdMduals paved the way for the development of thrs new style.

Roug[rly tranelated the words Bo$a No\ra mean neu touch q na t t ttg, Thc lyrlc stldc rc vEry subtle, and-altiroug[r a new, more syncopated way of playlng the gultar devebpcd, the [rstrumcntal accompanlment ts-also subtle ana aownptayea. Whtle tt marntatns some of the rhythrnlc rntcndty of Ure SamUa, the percussfve accompanfment l8 less pronounced, more subdued. It fs a stylc bcat sultcd for guttar and Udrt p€rcusston, vrittr the vocale, lyrtcs and songuntEry; featured nore promfnently. In addiUott to the beauufirl lyrtcs of the sostgs, the compostUone feature rrcry Eophlstlcatcd hefmonfcr alrd melodfes that clearly showed European mustcal lnllu€ncc as well as the o.posurc to Jazz.

The muatctans moat w€U known for tntroductng th€ Bossa to the world are Antonlo Carlo6 Joblm and Joa6 Cflberto. Others lnclude Luts Bonfa and .Ioa6 Donato. Anoth€r slgnlficant derclop' ment occurred through the m€rgfng of Brazfhan composcrs and Jazz lnstrumtntallsts such a! Stan Getz and CharUe Byra. Tbese two Ameltcan muslclans, aa well as several others, sp€nt a eFeat poruqr of thek careers tnvolved tn collaborattons wtth Brazlllan muslclans'

A technlcal note: A aonrmon mlsconc€ption ls that the Bossa ls Just a Elow Samba. nrf fs vcry much not the case. Ttre two dlfrer ltr all of tlrc aspects Just m€ntloned above, and tn one rn(,re you can kecp tn mrnd for drum set perforrnance, The Bossa ls felt and aruculated ,niFour, wblle the Samba ts h Aoo. The ttne suFature ts not the lssue. One ts felt and played |II four and the other !n two. You can Play both at the o

76 tutnr{gu Is 1/1

Bossa Nona tn 4 /4

Followtng ls thc baslc Boesa Nova pattern for drum s€t. Work f,rEt wlth rtfck ttr both hrnd.. ln the ncrd secuon you'll work wlth brushes, and wlth the brush-suck t€chnfquc. Ftrrt let a nlct .Eoth fe€l wlth ]'orrr rrde pattern on the hl-hat, along wlur thc basg drum. IG€p tn mlnd thc tlp. rclrrdlnt rldtng wlth the shoulder of the suck, dead-suchng and playtng on dtfiercnt partt d thc .urtcc pu'rc rldlng on. T]les€ elements are an lntegral part of getthg the rrght sound and fcet, Whcn thtr ftefr 6ood, add the ldt hand on the r|In of the snare. When 5ou're comfortable playlng thls at e fcw dlfirrqrt tempos move to tl:e ne)c secuon.

RH-Ht-hat LH-Rtm

Bass Drum Hl-Hat-Foot

Followlng are some vartauons for the ldt hand. SubsUtute these patternr for thc baalc lcft hand pattem above. Alnrays work ln phrasee-1.e.: tvo, four or elght thes cach pettcrn. keucc thcE at dlfierent t€mpos and d5mar[c levels. Also pracucc all the rhythms starttng cr thc eccond b.r d thc pattern. There la no theoreucal rule ae to wtrlch porruon to play the patterru ln. The rule lr e mudcrl one, You pl,ay the pattern ln the way lt sounds bclt wtth the melody and the cntlrc compo.ltbr. A. stated ln tlre flps sectlqr, playlng t|me---@mptngr-ln Brazlllan mualc ls very much Ulc pb]rlry Fs- you have the general patterns, and you pLay varlauom wtth th€m as dtctated by thc mu.lc. Xbr't percelve or learn pattems as belng |n a forward d rcwrs€ postuon, Leam the rhythnr thaouthly lrd play the phrases the way the muslc tells you to. Whcn 5ou're comfortable move to thc nqt .Gc'tlon,

l. 4. J J J )l rne*J-I J fl .l..[tn:f 'He rJ7,)J-il

2. 5. I ,ne J I )|| rHe vJ-7't-Jll n nfl rJ-7 "}J ll

3. 6. rEe J ylt J J,)t-{ ?N lJ U"*J'ilff'lllf '

77 tsrasifion :Drun S et Kfrytfrnu

7. t2.

L 13. )t'l 'EerJrfTlJ' il

9. 14. 'netJJIlllfT')JI

10. 15.

11. 16. ,nrJJJilrJ-IrJ7||

The number of pattans that can b€ pliaycd aa varlatlons are lnfttlte. Implovlsc aE much ar ],ou can to dorelop factllty and to dtscorrcr other ways to apply the rhythms. Agah, alwayB work fn Phrarcs. A gpod way to start ls to take a two bar pattern and repeat lt three tlmes, then play a vatrlatldr d a dtficrent patt€rn the fourth flme. Thls gIrcE you an elght bar phrase. If 5ou now rcpcat thls whole phras€ agah, and play a d!fferent vartatton the fourth trme, yourve got a slxteen bar phrase. In Orc performance of a Bong, )'ou'll most ltkely use one or two bastc patterns and sorne dfght varlatlono for most of the vocal and melody secuons. During the ltnpfovlsauond s€cuons you can gcndally mlx thtrgB up a lttue more. Remember, the muslc should be your prtnary gulde of what atrd how to play. Usually the leader, composer, atranger, and producer wtll also lndtcate what they ha\rc ln mrnd. Always keep your ears and eyes open, be mustcal and be flodble,

Now that you have worked wlth thls baslc approach, go througb all of the prerflout olamplcs ln the followlng ways:

1. Rtght hand on hl-hat-left hand on rlm of snare (revlew). 2. Rlght hand on hl-hat-left hand on snare. fUse dlfferent stroke tlpes on the snare, l.e.: rlm shots, buzz strokes, dead strokes, etc. 3. RlEht hand on rtde cymbal-left hand on rlm of snare. 4. RlEht hand on rlde c]rnbal-left hand on snare. Agatn, use a varlety of sounds ln your artlculatlons.

78 lbsse In 4/4 ^{pu

5. Rlght hand on ht-hat, but now openlng the ht-hat on the "l+n and "3+n of each bar-left hand on rlm of snare. You can also play thls as an accent only, wlthout openlng the hl-hat. When rldxrg on the cymbal, try playlng the acccnt on the bcll wlth the shoulder of the stlck. This ls a common artlculatton ln both Bossa and Samba.

6. Same as #5 but wlth left hand on snare. 7. Rlght hand sltdtng elglrth note tlme on the snare or floor tom wlth a brush-left hand on rlm of snare {flgure I ) wtUr a stlck. The second version of t}tils ts wtth the left hand dtrectly on the snare {ftgure 21. (Later you'll also add other varlatlong to the brurh sldcr.) I play tlle sltde ln tl:e followtng way--on the bottom, lower rlght of the snare. The arrowr on ttre tllustratlons below tndlcate the posltton of brush for the erghth notes lfpues 3 atd 11. You can choose the way that ls most comfortable for you. There are ilurny wayr to play thls. Start by worktng on efglrths ffrst. You can thtnk of the sound of the rhaker. Also remember the lltfle accent on n1+n artd "3+".

Ftgure 1 Fpure 2

Ftgure 3 F\we 4 7g tsrasi[ia.n Drunn Set Kfiytfrttu

8. Same as #7 but wtth left hand on the snare. 9. Same as #8 but wtth brush xr left hand. lO. Also wlth brushes, now try tap-sltdtng elgfrths tn the rlglrt hand and slldlng clreles get wlth the left hand lflgures 5 and 6) You can use both full and half clrcles. As you comfortable wlth tfrG you can add accents and other artlculattons ln each hand.

Flgure 5 Flgure 6

I l. Workfng wtth one hand at a ttme (stlcks and/or brushes), play constant elglrths and accent the rhythms of the two bar phrases.

1. 2.

RRRRRRRR RRRRRRRR LLLLLLLL LLLLLLLL LLLLLLLL LLLLLLLL

Once you have flnlshed workhg fitfi all of thls materlal pracuce lmprovtshg wtt}l tt as much as poselble. \ioo mo.'e tl:e left hand to other sound aources, add accents to the varlous volccB for color, thtnk about""n orchestratlng the pattems |I1 dlfferent ways on your drum ldt' and pracucc golng from one pattern to any other to create longer phrases. After dohg thts, add all of thlE,materlal to *rtngs you already play and [nprovtse wittrthat. Ttris is the way you wlll personallze tllt materlal. egari, itstet to cid,-learn songs tn thrs stglre. There are some aug€iesuons for llstentng at tl:c cnd of thc B6sEa secgon. Practlce playtng tIrc nurstc, so you can learn to play Bossa Nova, not Just a bunch of Bossa No\ra patterns,

Keq, rn m|trd that the Bossa ls dertved from the Samba, so all of the rhjdhmlc artlcirlaUong and patteris from the Samba secUon can also be us€d for the Bossa. In es8€[rce the rhythmr are the sami. As menfloned earlter, the main dlfferenee ts tlrc feeltng of four versus the fecltrg of two.

80 tlptlrr{9u Is 5/4

Bossa Nova in 514

The conccptual approactr to playlng ft€ Bo..a ln odd tlme suFahrrc! l,r much thc .rm ra playlng fn 4l4.Yotu etrould strfirc for the same cm@th feel and ugc slmtlar Gclrc.tratlo.rr. lb|lot|na b a baslc pattern for the drum set:

RH-Ht-hat LH-Rtm

Bass Drum Ht-Hat-Foat

Once you feel comfortable wtth thts, pracuc! the followhg varlauon. |tr thc lcft hrld. Strtt wlth the left hand on the rlm. The rhgttuns I&tE trot Wn beamed b denoE d 2-3, &2 t 5 t tMlt lt,o.L YolL shoud prootlce or.d trote @rrtrol oJ all tlte rr'rr,blls.

l. 5.

rEfiiJ,)rJl x I

2. 6. rBXiJ ,tlu), rEFu)vlJ J lll )l r il ;r I

3. 7. rEXJ.tlu)rljl r { 'E+JIlr.ltrbr)l r I

4. rEX J-ll l-Ju,br.bj J] ,)ulj I r il '[+ l ,r I

8l EraziIian thun S et nfrytfrr*

Nmr go back and apply all d the suggesflqrel througlr I l--.fiorn the Boesa ln 4/4 sccttdr to all of the 5/4 pattems. You can rq)eat the one bar pattern alone, or comblne two pattcrns to make a two bar phrase. Also try playtng one pattern as a theme, and lmprovlslng the second bar. Tlrts fitl get you started playlng longer phrases and wll make you more comfortably 11 odd ttnes.

Followfng are some dlfferent foot patterns you can try:

All of the left hand and rtgfrt foot patterns are tnterchangeable and combtnable. firc rtgltt tund and the hl-hat can and should also be used for varlauone ln the rhythns, as Ehould the balr drum. Ttrey don't harrc to be restrlcted to osttnato pattems. It ls sometlrnes deslrable to hav€ a Etrt of brokcn c ltnear tlrne feel taktng plac€ between all four Imbs-|f the muslc calls for lt'

Again, tf you're not fam rar or comfortable tnprovtshg vartaUons or sololng wlth th$ fcel, try ustng one of the one or two bar rhythmtc patterns as a mottf. Keep thts as your theme, and pracuce ltnprovls|rrg vartattons around lt.

82 htsr{fr Is5/4

Bossa Nova in 6l4

Ttre same approach as learnfng the Boera ln four ts taken here.

Baslc Pattern:

RH-Ht-hat LH-RTm

Bass Drum Ht-Hat-Foot

Here are some rhythmlc varfauons for tlE lcft hand. As ln the prq o|ra cbrytar, thc rc Ere not bcamcd tnto EubdM8lorrs. You ehould practfce ptraslng ln 6 (stx cqual bcatr h thc Erutc). |n half notcs (meaeure dMdes rn thre€), and |Ir dottcd half note8 (measurc dMdc. tn hdl).

1. 5. | b., bt rEf; J J u.b J-J, ), )i| rEf; J J ., b,

2. 6. rEf; J J .,)u)., )r.b|| r[fi J J J J]] , b, bfl

3. 7. rnf J J Jl )J J-] rnfi Il*If I., bt , il r.b

4. 8. rBf; J J ?)Y)'.bllll rEfi J J l-1 1b f 1 bfl

83 Bossa Nova ln 7l4

Once agah, follow the same approach as for the Bossa tn four. Go throug[ all of the prcvtous hstructtons pn U t*- the feels-tiroroug[y. Hef,e ls a baslc ftamework to statt wlth: "ia

RII-Ht-hat LH.RTm

Bass Drum Hl-Hat-Faot

Here are some varlattons. The subdlvlslons can be ln 7,ln 4-3 or ln 3-4. Practlce them all.

1. rnz J,rlrll r).|-lu)il

rnz J J.rl J-] ,),)J il

3. rflz J J u.brlJ,ilr)||

84 Suggau[ f,rtists And Suggasuf mta*g-tbs 9{pao

Stgniflcant Artists and Suggested Llstenlng Bossa ffoua.

Followtng ls a liEt of arusts who made runncant contrlbuuons to the dcrclopncnt d thc Bosea. These are composers and hstrumentalt.tr renowned for thetr work ln thlr tdlom. Ttrc purpce of thc ltst ts to ald |l1 you becoming famillar wtth trnportant muslcrans of thlr rtylc' In bu|ldh! . llbrary of thfs style 1ou can look for recordlngr by thcEe arUsts or wtth contrtbufr$ ftorn thcm.

Vlnlcfue dc Mora,es ,Ioa6 Gllherto who ln autiror, dtplomat, l5nt- -Gultarlst and vocaltat -Poet,clst. Wrote lyrlcs for over 2OO 1958/59 brought the Borsa to songs. Was an lrnportant figure tnternattonal attentlon wtth hte ln the lrnkmg of the Sarnba- recordtng and performance of Canga6 and the Bossa Nova. Desqflnado by Joblm. One of ttrc Collaborated extenslvely wlth orlglrnators of tlte new Booea Joblm and other key Bossa Nova guttar s$e of that pcrtd. arflsts. ,Ioa6 lrotrrrto Barroso and c€mlntcr wto r & -Ptanlst -4omposer of Aquarela do contrlbutlons to the Bocga Brasll as well as many lnterna- tncluded much Amerlcan tan ttonally recogntzed Brazlltan lnfluence. pleces. Collaborated extenslvely LuIz Borta \rfth otJrer composers. Hls --Gultarlst and campooer of, composttlons were recorded by many pleces that lnlluenccd the many Brazthan as well as Amerl- developlng Bossa sty4e. can artlsts. Astrud, GII}rr-to Geroto who'g duet rendlUort who lnfluenced the -Vocaltst(wtth her husband Joa6 -Gultartstgultar s$e of the Bossa wtth hls Gtlberto) of Garota dc lpnenu, harmonlc approaches to Samba (Gtrl FYomlpnema) wlth both and Choro styles. Portuguese and En$lrh lyrlce Noel Rosc brouglrt her tnternatlond reco6- wrth maJor lnfluence nltlon as a Bossa st5rllst. -Gultarlston the styles that led to the Carlos LWa Bossa Nova. ---Guttarlst and compocer of Altf,onla Ccrtoe .Iobln (Tom" many Bossa standardg. Fornrcd ,Iobtm) a glrttar academy tn Rto wtth 4omposer, guttartst, vocallst. Roberto Menescal, to work wlth Internatlonally renowned and progresslve Bossa Nova 8ult8r lnnovattve composer of marry of styles. the most well-kno\iln Bossa RioDrrtoMenrlrn,l Novas. and compoeer of ,Iofung Alf -Gultartstmany well known Boscat. 4omposer and plantst who had a large lmpact on t}te Bossa composers and tnstrumentallsts.

85 Srazi[ian :hun S et qfrfifr*

Naro Lco6 Serylo lfrendcs and Bossa Nova Jomposer and leader of the -Vocallststyltst who recorded many Sexteto Bossa Rlo, an early famous Bossa composltlons. She Bossa Soup tn Rto. He later was a key vocaltst and flgure ln collaborated urtth many Amerl- the 1964 Brazlltan pollttcal can Jazz arttsts ln Braztl and protest muslcal Oplita6. galned most of hls recognltlon Osccr Castro-ffeues- througlr hts leadrng of varlous and composer of Braatllan groups ln the Unlted -Guttarlstmany early Bossas. States from the gouP Braztl'66 Edtt Lo,ap. to current releases. and songwrlter of Eltscf,;h Cor:doza -Guttarlst . Her album CanPi many pleces ln the early slxtles. -Vocallst Known for lyrtcs that were do Amor Demsts feahrred Joa6 polltlcally tlnged. Gtlberto playlng guttar. Thls was Badeln Pouell one of the flrst Bossa recordtngs. Vslle -Influentlal guttarlst who Ificrrcos recorded many Bossas as well as 4omposer whose Bossa muslc other Brazlllan styles. Hts gultar tncluded lyrlcs of soclal com' playlng and lmprovlsatlon mentar5r and polltlcal crltlclsm. lncluded much Afro-Brazlllan as Ronalfu Bdscoll son$nnlter' Wrote well as lazz lnfluence. -Composer/ Neuton lfrendoga lyrlcs for the Roberto Menescal and composer who song Rlo. -Plantstcollaborated wtth Joblm on Luis Egcl comPoser/ many now-famous Bossas. -Influenttal Planlst, Aloyslo dc Olhter.rr songunlter and arranger of manY ---Composer and collaborator of popular bossa novas. Arranger many Bossa standards. As of Mllton Nasclmentos flrst dlrector for the Odeon record album. Performer ln manY label, was ln part responstble for Brazlllan styles. the release of Joa6 Gllberto s Chega de ffiudade stn$e whtch ls consldered by some to be the flrst Bossa recordlng.

86 Sttgguut tutists tud Sqgesut ListcttQ-lhsn Npoa

Here ls a llst of composiuons that are coruldcred to be Bossa Nova ltandardr. You rhould lcarn as many of these tunes as posslble, and you should fam lartze yourself wlth many rcndltlqrr of ch parucular song.

By: Antonlo Cartos ,Iabim: By: Ccrlas l4ra ;WItIt 'Wtth Vtntclus de Moraes Ronaldo Bdscolf t'W ItIr N euston Mendoga frWltlr Vlnlclns de Moraes .trWlilt Alogsto de Olluetra ff'ffitlt Newton Mendry rr+fWltt Alogsb de Oltturltru Chega de Saudade* Desafbnado** Marla Ntngu6m Trtste Saudade Fez um Sambaf If You Never Come to Me Lobo Boboi Corcovado Colsa Mals Ltnda'r Wave Samba do Carloca'r Aguas de Margo Prlmavera*' Lulza Sabe Vocef' Ela 6 Carloca Garota de Ipanemaf By: doai lhrruto Agu" de Bebert O Grande Amor* Mtnha Saudade 56 Dango Sarnbat Insensatezt Medttag60** By: ^ililarcos VaIIt and htrl W Samba de Uma Nota 56 Vatle A Fellcldade* Samba do Avla6 Samba de Vera6 (Summer Santbe) Vlvo Sonhando L6grlma Flor Por Toda Mlnha Vlda* Dlndl*ff By: Ronald'o Ddrorll and llolrrto 11"rng1s*** Menescal Eu e o Amor* Se Todos Fossem lguals a Vocd O Barqutnho (Ltttle Boat) Rlo By: LuIz Bo4fa: Voc6 Telefone Manha de Carnaval A Volta A Chtuva Calu N6s e o Mar Engano ey: Vhfctls &ku ad ftqrfln Byz,foe6 Gtlhefto Aquarela Btm Bom As Cores de Abrll

By: B&nPowell

Samba Trlste (Sad Sarnba)

a7 Samba Introduction

Revlcw thc Before begtnntng thls s€cuon, go back and revlew the Samba secuon tn P+.9ne' rnytfirnfc pattern-s of ei"n of Ot" p"rcrisslon lnstruments, and the baslc characterlsues of narbue mo8t asllcct! of Sraml-Ua stytes, ruso revlew all of tire ttps gecuon. It ls lmportant to keep tn m|Ird that a-- pr"ra"s |Ir thls style w€re derrrcd ftom ttre rhythms of one, or gcraral, of the P6cu$lon tnstruments,""t Tll€re are many dffierent samba styles and many ways to play eactr of them' and thc rcgard' p"r**f"" ,lrp" .t eneemble lou're playtng 11 wlti d€termlne what you wilf phy. Remonber tlut ThG foundetlon 6 ba!' i"." on Ut" Jjng-style or the ie-p", tfti sinUa fe atways felt and pla5rcd fntoo. trwtrr- io. trtisaiou. t" bast".ity the downbeats of the bar-ln cut ttme the one and th€ tu,o-''wlth thl accentuauon on the two. hri rtrythm rs played on the surdo, the base drum of the Samba' The seneral ohrastnq to the last note of tire bar, ind the uee of tradlUonal Braz lan rhythtrlc rocabulary pcroreclon tU -rtli rc.tt pfaytrg sound more authenflc. Adaptrng the technlques and, rhythms of the trBtruments to tlte drum set w I enhance your ptayfng fn tb,fs stj e tremendously. Also kec? ltf mfnd ptayea that alt of the musrc belr1g pres€nted here is folklorrc rn nature. It ortgnatea a1a- nryt Uy 1as playere the comnon folk rn the siectFmuctt ltke the orrgn of the blues tn the Unlted Statcs_. Tlrerc waa wcre not ncccsaarly muslclans wlth tremendous Gchntque on any lnatrument, and 11. thcy scre lt more hagrnstand than a @nsctous efiort. As a matter of fact the lnstrument€ thcmelwr wtre vcty prftofud-Uy o"r Etandards, Techntque on your lnstrument ls a btipart of our focus tn muslc tday. -tectuu&l Tttc just don't;nake your matn focus a one. Your maln prlortty should be to caphlc thc fcel. you techntcal concerirs should be secondary---assumtng you already have your chops,togethcr. If aon't, ttren you must address thts beforl you can aplroactr thls study muslcally. On the folowhg page ts a percuaalon Score for a baslc Ba&aoda for )rcu to revlest'

88 So$tfutl*dn Score

Samba Perctrssion Score

Here l3 a baatc score of the Batertd of an E*ola de Samba to rc&csh your mcmor)t rbout thc p€rcusslon parts. These are only bastc Btructurc. and many v"arliaflons can bc pl4lrd on crh lnatnr- mc[rt. Sometlmes the narlaflons thenselv€s dcfne a parucular styte of Samba. Wtthln ccrtrln |tylca the role of some |Irstruments tnvolves a great dcal of lmprovlsatton and vartattmr of thc batlc pattcrn. AI of thfs should be ap'plied to your drum set playlng. (Refer back to Part I for rnsc epecnc lnftrrna- flon on each lnstrument, )

gurdo

&ego

Tanborfmr

Chacslo

Riqirye

&Ixa

Cuico

Pandebo

Ptatoc

&tto

89 Basic Dnrm Set Approaches

Followhg rE the firot s€t of rhyttrms for pliayhg Samba sryleE on the drum Eet. lllcre arc many waln to epply th€m, Bo don't Just pliay them as srltten and stop there. Learn thls and all othcr matc' rfai avaftaUte" and llsten to as much of thts Btltle as posslble. Keep tnprovtshg and mDrhg thfngB up unttl the matertal becomes your own.

Begln by worttng wlth the followlng foot patterns flrst. If you have played samba bdorc. ctrances ar1 you are famtltar wtth foot pattern #f . Unfortunately many drummers arc only aware of thts one foot pattern, Patterne #2 and #3 wlll actualy g\rc you the most tradtuqral sound LGcauEG they most closely emulate the Surdo and Pratos. Pattem #4 emphaslzes the upbeat by plachg an erg[ttr note UAore tt, but not beforc the downbeat. All wlll gtrrc you a dtsunctly dlficrcnt fla\rE Er thc feel. when l'ou use each wrl depend on the mustcal context ]tou flnd yourself rt at any glvcrt umc' Work wtth all of them llr order to bulld Sour repertolre of Samba playlng. To get started, plck the pattern you're most comfortable wtth, and go on to the foUowlng e:

glaFoo/ttutl'''|€,t The top llne lB the ht-hat and the bottom llne the base drum. Ttre staccato and accent markfngs tn oraq es I and 5 tndtcate the lcE and shdt notee of the surdo rhythm and thc samba- Try to makc your downb€at a lltue more pohted and less accerited than the upbeat. Thtnk short-long. Not all compo' stuons wll call for th$. Somettmes tt may be more deslrable to play tt wlthout long-short ardculauotr .

at'O'O 5 "E$J l r | r ) ll J rl ll I J J I r rrl! r

90 S amb o-lfusic Dnttfl Set n?Fw{rat

Pracuc€ tlre followlng patterns flth both tr,,tlds lrr ur,Ison--qnibol and snatw,tq dl d thc abov€ foot patterns, There are two reaaons for thlr approach. The first: bccautc thlr lr rctudly qtc way that pu play Samba on the drum set. Thc othcr ls more teclmlcal. Many drummcn rrc undcr the Irnpresslon that playlng Lafln rhythm8 on the drum rct lnvolves pliaytng rrcry bury, ryncot'.tcd Fc temE wlth the hands o\rcr a foot osthato. Whlle to an unfamlfar €ar tt may round llkc e lot |ll tplqt on wlth the hands over a foot pattern, Just the opposttc t3 more ofter.r the casc, What l! actudfy aot|! qt ln each llmb ts very slmple, It ts \phere each rhythm ts pliaced and the orrcrall rhythmrc htcrFctrtfdr that creates the lntense syncopated fe€lhg. By workhg wlth lour hands |Ir unlron, youlc not q|ly learn|rlg actual ways of playlng Samba, but you can focus on how the rhythrur ltne up bctcrr liout llmbs. You w l hmedtately be able to hear lf Irou arc out of sync between pur handr end f€ct rt|d make an adjustment. It also makes for a great tcchnlcal workout.

Begh by playlng one foot pattern at a ttEG and playrng all of the two bar phralc. owr lt. Repeat each phrase at least twlce or four Umes !o that you're worldng wfth four 6 elg[t brr phnrcr. Move fiom one to the ne)

l. 6. | I J J l. v J-r-l v )J rUe .f]J 'EO I I r.Ll]lff I

2. 7. rne J J ,J-I lt ,)rlj l| 't* .l J J .l I, F, ?il

3. 8. J J J:7 J:,t:l bl ne t.t]l:J-l-,ln 'Es r , ?, il

4. 9. .l J J, )l | b., bl neJTl]J-J'r: tJf:J-J-trn 'E* , ll

5. lo. rnevIlrlj ll I J*)il ,no,ffilJ lTl

9l $razi[ian Drun S et Wtfrr*

11. t7. J-lll-r-1 J rJ-t-]l-J'rl J-lrJ-'] 'nO t lJ-l-rlJ I Ee l.l t

t2. 18. rne lI;il rnsyJ-;YJ-,] lYJl]?J-'l I vfTrI; lJ

13. 19.

rs. 2r. ,to J J Ill ll,l, )J J J III]I,J-rl .,ff r || 'En il

16. 22. rno J-Jll J-JJ-IIJil I )r I ), vj-ilJ 'ae lr il il

92 S amb o-Stggestiotu f or t

Suggestlons for Vartatlons and Improvlratlon

Now pracuce playhg all of the two bar pattcf,n! ]rou Just leamcd wlth thc fafvnl nlfrUr. l. PracUce playhg |It four bar phras€s by playlng tso bars of a therne orjnled patterrtudnj crc d tlrc ghrcn phrases.{nd two bars of lnprovls€d varlatlqlg. FoUowlng l3 an cmmplc, Urc thc othcr prt- terns you Just learned and make up varlasonr llke thts. ThiE ls a great *ay to wuk q| lour phnaeta,

Theme Pattern: Inproutse Vartattans:

2. Practtce elglrt bar phrases by ustng a four bar theme pattern-made up of one of the gty€n trc phrases repeated+rrd four bars of lmprovtscd \rarlatlons.

Theme pattern:

Improutse Vartatlons:

3. Practlce etglrt bar phrases by uslng a two bar theme pattern repeated tlvee UnJes, and a ffo ber lmprovlsed varlatlon at the end.

93 4. SD

5. Thlrty-two bar phrasee can be made up of two €Foups of elght-maldng slxteerHnd thcfl repcatlng the whole thlng qgFlrr wtth another varlauon at the end of the s€cond slxte€n.

Whaf8 betng drfi/en at here ts that rt ts €ss€nttal to develop a strong sense of phratfng. You must repeat thtngs and then develop varlauons ln order to play good strong Phras€s. Don't pW lob o:f Dorlo;tlons and. tw tleme . Your playbg w l sound very dlsJunct, and your llstcnero won't have any tdea what 3ou?e playlng. Remember, ln Brazlllian muslc tt ts the melody tttat wtll dtctate what wdl be played. L€arn tunes and practlce stnglng a tune and Unprovtshg the drum set parts around the nelody.

Once you can play phrases wtth the prevtous suggesflons, begln worktng wtth the folldtlng o(erclsea. Apply all of the prevtous phrastng suggesuons as you learn each new technlque'

l. Play aI phrases hands ln untson, cymbat and snare, over all slx pattems. (Revlew.)

2. play all phrases on the snare wlth t}le rlght hand, andlt tn the mlsslng eighth notes wlth the ledt hana. Oo *rts two ways: flrst wlth the left handjlltng ln on the snare; second,;flltlng tn on the hl- hat. Then mtx n up. Your left hand notes should be glrosted.

Thls pattern;

Becomes: q"r{, L,'{,

3. Practlce tmprovtslng wlth the above two technlques applylng all of the phraslng suggestlon$.

4. Play constant elght notes-sttcktng RtRt RLRL-and btnz all the rhythms of the two bar phrases. Followlng ls an example of thls ustng rh$hmfc ftgure number one from the prevlous sectlon. *These are short staccato buzz sfrokes.

?hts:

Becom.es: KJ{, L,'{,

5. Play constant elghth notes buzzlng every stroke and accentlng the rhythms of thc two bar phrasce. Playtng patterns ltke tfits ls an ofrshoot of the Samba snare drum part pla5red tn Escola! dc S'amba, as well as a vartatlon of the Ma$(e rhythm.

94 S amb o-S uggestimu T or ilsi*iotl^s *{ Irytoefntion

Thc followlng approech lntroduc€s the ulc of osttratos for the rrdc pattem. Youll ruk ftrt wlth the folowlng slx ostrnatos. Although lrou halrc only slx rhythmtc pattcrtrr, tbc urc d mtr, lrl- hat openfngp on the accented notes, or playmg the accented noteg or thc bcll of thc clmbel rtth thc shouldcr of the suck, glve you many \|arlauont.

1. 2. 3.

un] n 'r*'b] il 'strlr il 4. 5. rrllil Et I gt E*

Go tluougtr the osthatos as follov/s: l. RIg[t hand on closed hl-hat. Left hand playr the two bar phrases from the pra.lou. rccllCr.

2. Rldht hand on hl-hat openhg the accented notcr. Left hand plays the two bar phra!c..

3. Rlght hand on rrde c:Enbal, left hand pLays the phrases.

4. Rlght hand on c'yrnbal wnh accented notes dt the bcll wlth the ehouldcr of thc stbk. Left hand plays the phrases.

Ptay the followlng tcro-handed comblnauorr. Nouc€ the l€ft hand lr trltng tn thc m|..|nt Dotc of a three note ostlnato. The lefts can be playcd gtrolted, sltghtly dragged or rlurrcd, or mrtcd. Number one ls the most common samba permutatbn.

l. 2. 3. 4. T rril El J-J-J-:il Hl II4l ru J'Il-Jil Bl J

Now try doubltng the left hand note. Thtc la1rcrs two notes and creates a nlcc fccl.

l. 2. 3. 4. ## Etr-Tllil m

Orchestrate all of these examples on dlfferent sound sources on the drum ret. Thtnk of ttrc percusslon lnstruments' sounds and patterns.

95 Sttcktng Comblnatlons

are some sucklng comblnattons that work parucutrarty weu-r.o1 Rcmcmbcr' Follo$rhg -onaccented-ghosted-notes fgpa' that you must hive accented alrd to get the rlght feel. You can usc the sucklrlgs to develop ttrne feels, variauons, and hprovlsauon'

Ttrts frst one uses tlre 1ryerted paradlddle cqnbhatton RU,R LRRL, Practce both acccrt pttslblll- ues wrttten h€re. E ample three rs one posslble ordlestraum of thr,E sucka{ around the scl

1. 2.

RLLRLRRL RLLRLRRL RLLRLRRL RLLRLRRL

HIghTom Snare Low Tom RLLRLRRL RLLRLRRL

The nerd example ts another paradtddle comblnatton, RRLR LLRL, Agatn, obscrrc thc acccnts and glrosted notes. Ochestrate lt lnto some patterns that are useful for you.

1. 2.

RRLRLLRL RRLRLLRL RRLRLLRL RRLRLLRL

Thts comblna6on, RLL or LRR, ts good for dtsplaclng a sln$e accent every three beats. It ls useful for varlattons ln your tlmekeeplng patterns or lmprovlsaflon.

RLLRLLRL LRLLRLLR LLRLLRLL RLLRLLRL LRRLRRLR RLRRLRRL RRLRRLRR LRRLRRLR

96 Smie-Sttc$ryCaMew

Llke the three note sucldng ln the prevlour cmmple, thls five note luchng: RLRLL c LRLRR, gtves you yet another accent dtsplacement. You c.n dso try a reg;ular ftrc rtrokc roll .fcktr|3, RIjXR LRRLL. Work these tnto dlfierent comblnaUoru around the set.

RLRLLRLR LLRLRLLR LRLLRLRL LRLRLLRL LRLRRLRL RRLRLRRL RLRRLRLR RLRLRRLR

The followlng sucHngs can b€ looked at a cotrple of dlfierent waJI!, Thc!, arc an cdcn&r d e pr€rtlous e](ercls€ pu dti, tn whlch you took the trD bar Samba pattCnr ln 6te hJrd. rrd illcd !r the IlUsslng elgbths wltlt ]'our other hand. These three cmmplcs use the suclfig RLRLRII a IILRLRR as thelr base. Slnce thls ls a seven note sucldng and ),au're plajdngi ln trf,o (or fow), 1ou cen rdd rhrtcver notes you need to round out the phrase. You cen allo do thts wlth the prwlour tgo cnmplc.. Anotlrer thtng you can try ls to brlng out only the rrgbt hand, or only the left hand acccnt!. Youll bc .urFL.d at the dlfferent rhythmlc patterns you can comc up wlth. You don't harrc to ltmlt yourc|f to aily rlaht or only left hand accents, Thlnk of the overall rhythmlc pattem. I(ecp the Samba phruc. h Elnd to malntaln an tdlomauc sound. For lnprovlsaudt, thc combhauons are llmltlcc., The &rt tro cr- amples brtng out the accents that fall ln the rtglrt hand. The thlrd brtngE out thc lcft h.nd. I .trq{ly recommend you study the Pdtterns tr book by Gary Ch@ee for an adenslvE lool at rtlclfia podlll- fles, Whfle your at tt IU suggest you study P@t&ems I arl;d, Pattems U also, You can .ppty dl d thrt matertal dlrecuy to these lnterpretattons.

RLRLRLLR LRLRLLRL RLRLLRLR LRLLRLRL LRLRLRRL RLRLRRLR LRLRRLRL RLRRLRLR

RL.RLRLLR LRLRLLRL RLRLLRLR LRLLRLRL LRLRLRRL RLRLRRLR LRLRRLRL RLRRLRLR

97 Erazilinn Drun S et Kftytfittu

RLRLRLLR LRLRLLRL RLRLRLLR LRLRLLRL LRLRLRRL RLRLRRLR LRLRLRRL RLRLRRLR :> :> :> -:>

RLRLRLLR LRLRLLRL RLRLRLLR LRLRLLRL LRLRLRRL RLRLRRLR LRLRLRRL RLRLRRLR

RLRLRLLR LRLRLLRL RLRLRLLR LRLRLLRL LRLRLRRL RLRLRRLR LRLRLRRL RLRLRRLR > > - >> > :> :> >>

RLRLRLLR LRLRLLRL RLRLRL LR LRLRLLRL LRLRLRRL RLRLRRLR LRLRLRRL RLRLRRLR

You should also work wtth stlcklngs that contaln flams. Use the standard rudlment repertolre and also try maklng up stlcktng combinatlons of your own.

98 SenSaAlfrtht{res

Samba wlth Bnrshes

Playhg Samba vdth brushes, lfte playlng any style wtth tlem, ts an art In ltrclf. ThGrG arc t fevr baslc concepts that relate to pliayhg brushe! ln any style that you should halrc do*ar flrat. Thc ba8lc technlque of playhg brushee lnvolv€s sldrng rhythms and sdclrng rhythmr. Thc dldlng p.t- tcf,na can take many dtfier€nt shapes, You can slldc ltrarght |lnes ldt to rlSbt or back and fcth, pu can sltde clrcles, half clrcles, or any number of crmbhaUon8. In thls dfdng pu haYl to bc able to do three thfngs. One ts to aruculate \arlous rhythms to genef,ate a tlme feel, the rccond f! to crcatc e sound t€rcure, and three, aruculate acc€nts ln tholc slldes to emb€llrsh thc tlDc fcclt. Fulor|ng rrc a few suggesuons and techntcal e,(erclses that you can work on to butld up some chq! wlth thc bru.hcs.

l. Fracttce all of the sttcktng exerclses you pracflce wlth sttcks-Rudlments, Stlck Control, etc.-wlth brushes. Thls wtll get you comfortable wtth the feel of the brurhca in your hands. It'll also be geat for your chops tn general.

2. Slidtr4g. exerclse A: Practlce one hand at a tlme. Ftgures 1 and 2 show the rlgltt hand, 3 end 4 show the left. Sltde the brush on the snare as ls shown ln the illustraflon belw. Kccp some stmple ttme wlth your feet. At each of the end potnts of the sllde pu wlll artlculatlng means of a sltglrt accent-a rhythmlc scale gohg ftom half notes to thlrty-recondr -byand back down agatn. The ffrst couple of rhythms Eue tllustrated:

Ftgure 1 FSure 2

Flgure 3 F-lgure I 99 3. Stldfng exerct* B: Agatn, practlce one hand at a ttme. Sllde clrcles llke the tllusba' uon shows. Flgure 5 shows the left hand and ftgure 6 the rlght. Focus at the top of the ctrcle. Thls ts the potnt at whtch you'll make your rhythmlc lrrflectton (lndlcated by the arrow). Practlce artlcutattng the rhythmlc scale as stated ln number two above. As ]rou argculate faster rhythms the ctrcles wlll get smaller. Half note clrcles would be your largest clrcle and would get progresslvely smaller as the rhythmlc rate lncreases from elghttt notes to trtplets to stxteinths ana faster. As you slow down the rhythmlc rate the ctrcles get larger.

Ftgure 5 Flgure 6

4. srtlltrg exerelse C: Do the same as Sltdtng exerclseB except lnstead of artlculatlng the rhyttrmlc scale, work on speciftc note values one at a tlme. Arttculate two noteg per bar, three notes, four notes per bar, quarter note trlplets startln$ on and off the beat. For example, tlr worktng on four notes per bar you can accent four quarters on the downbeats, four efgtrths on the upbeats, four elglrths as the last elglrth of a trlplet and so on. As the illustratlon show, sltde clrcles and practtce maklrg the rhythmlc lnflecflon at the top of the clrcle shown by the arrow. You can also do these two exerclses wtth the rhythmlc aceent at the bottom of the ctrcle as you make the sweep upward.

5. Take pages ftve througlr seven of the Strck Control book (by: George Lawrence Stone), and lnstead of stlcklng the comblnatlons, play the stlcklngs by sltdlng them. Artlcu- late the rhythmlc accent at the downward polnt of the sllde as tndlcated by the arrow lflgure 71. The brush wlll make sound as lt slldes back up but lt should be less pronounced than the downward strokes. Thls glves you varylng textures. The up and down sltdes work llke accented and gfrosted notes. PJ,PJ, PJ.RL LRIR LRLR RRLL RRIL LLRR LLRR RLRR LRiLL RttR LRPJ-

Flgwe 7 loo Ssfiotlri$rnsfrcs

Onc€ yourve pracUced the above, the nqt rtc? ls to put the hands t€ethcr to crcatc UrE ftd, tn wtraterrcr style pu're playfng-fn tlrts case Samba. tryou\rc pracuced dl d thc .ugge.tcd csds, the rest should come relattvely eastly. Followlng arc lorre approachee to playlng the Samba wlth bruAcr:

L Sllde elghths wtth one hand and play the twenty-two two bar rhythmr from thc Sarnba: Baslc Drum Set Approaches secuon wlth the other hand. Tap the rhythms wlth thc Ht h.nd brush whtle the rtght conthues sltdtng thc erghths.

2. Sltde elghths by altematlng hands-rrght, left, rtglt left-and play the rhytlrmr fr.oin thc same samba secUon mentloned aborc a! eccented slldes. ArtlcuLtc thc accqrt ln thc rlt&, ln whaterrcr hand lt falls on ln the altdnattng e4!ths. D

3. Improvlse wlth a combtnatlon of tlre abovc tqro methods and thcn tnc6Fratc dl d thc rhythr c pattems covered so far. Mo.t pla]rers develop a pretty Frrorral tcchngee rtth brushes, There ls no standard method. Praclce these o

lol lBraai[ian lDrtrm S et Wnffis

Bnrsh-Stick Technique

Althougfr the brush-strck approach ortghated on the drum set, t]rere are dlrect connecuons to certafn eoundJ and teclmtques of vartous per&sston lnstrumenb. Flfst, scv€ral fnstrumcnts such aa the Rept dque and tlne Tambortm are pliayed wtth a suck ln one hand and the other (bare) hand playlng aesortid n-otes dfrectly on the head. The brush-sflck method somewhat emuLates that approadl. Secondly, the sound of the brush slfdng closely resembles the sound of the Chooalo (shaker).

The notation reads as follou/s:

Top ltne ts rtght hand, bottom ltne ts leJt hand. The leJt hand twlds the brush and the rtght hand holds the sttck (flgure 1). (Do the reverse tf you are left-handed. ) On all beats notated wlth an "X" play the sttck on the bnrch (ftgure 2).

Between the sttck playtng on the brush, the brush mutlng the head, and the varlous brush and sttck strokes you can make (rtm shots, brush sweeps, flams, etc.), you have a wtde varlety of sounds avallable, so tmprovtse and experlment.

Flgure I Ftgure 2

On the followfng page are three patterns to start wfth.

l02 Smiunrusfr-S*(fx@u

When you're comfortable wtth these patterns practlce them as followg;

l. Play these over all stx foot patterns.

2. Move hands to dlfferent sound sourees.

3. Play wlth brushes ln both hands.

4. Try to comblne tap strokes wlth sltde strokes on the brushes.

5. Play theJtlltng fn exerclse from the Samba and.Imptortlrtt*rn sectlon. TheJllled tn notes wtll now bc wl&-,SuggesttonsJorVarfstbns the brush. Improvtse and apcrlment wlth dtfferent stlck strokes playtng on the brush as well as wlth other stroke grycr and vrrhtlqrs.

6. Llsten to the audlo examples of thls and other recorded enamples. Impronlce to devclop your own verslons.

The ne)d two ptctures lndtcate another way to pliay Samba wlth the Brurh-Stlck tcchntque. The rtght hand slldes elglrth notes (as well as lmprov|ltng vartauons), and the lcft hand pla5o rhytlrnr cr elther the rlm (tlgure 3), or dlrecdy on the snare (Jpure 4).

Ftgure 3 F$ure I l03 Batucada

As menfloned llr part One, a Batucada ls a Samba played wtth only percusslon. br an Escola de sanba, thrs would mean the srngers and the couaqutnho would not play and only the pcrcurrlon you would be featured. wrth the Bcterta of an Escola numb€rlng three to five hundred pcf,cuslrqdlta' can tmagtne thls ls a pretty powertrl sound. play In a group {band) s€ttlng thls would mean t}re drums-and percusstdr, rf prescnt+ould alone, If you-ar€ ptayttg arum Jet wlth a percusalonlst present, then you would cover the Surdo and you ottll necd Ca115a (snare A*hl and the bass drum and tU-hat. If there ts no percusston then iott", your to cover the Surdo and Calxa, but any other percusalon you have on your set that you can add to pattcrns would only enhance the feel, mat

Followlng are some ftalneworks for playtng the Batucada or funl/oa de @n?@Jta[. a! lfs somc' umes callcd. TtrEse are only baslc ftamewo;ks. The bastc structure starts wtth a slmPltfied Calxa part and the two surdos, You can elaborate qulte a blt on the melody between the hfgfr and low Surdos- yo"t fttgh and low toms. Remember there are three Surdo parts you can draw ftom. PlaJdng the ac' cents and glroeted notes arc essenual for the rig[t feel.

The flrst g)€mple ls your startmg polnt-the snare drum \rlth the low Surdo part. * Use AourJloor tomJor the Surdo notes.

Thls second example tncorporates the htglt surdo tnto a baslc pattern. * Use Aour htgh o;ndlow tomsfor the two surdo Wrts.

RLRLRLRL RLRLRLR

104 llrr;ttc.s{.o

ltrese no

RLRLRLRL RLRLRLRL

2. >> >>

RLRLRLRL RLRLRLRL

3. >>>

RLRLRLRL RLRLRRLR

4. >>>

RLRLRLRL RLRLRRLR

5. >>- >> >> >>>

RLRLRLRL RLRLRRLR

6. - >> >>>'

RLRLRLRL RLRLRRLR

l05 Now that you have some materlal under your belt, start puttfng these patterns together and lmprovlse longer phrases. Followtng are some ldeas to get you started. Notlce how the phrases are butlt employtng the concepts stated ln the Samba: Suggesttons For Improutsatton sectlon: longer phrases are butlt thraugh th,e repetttton and grouptng oJ shorter phrases and stlght uarlatlorts.

Four bar phrases made by comblnlng materlal from the two bar phrase and addtn$ narlatlons.

>.:>, >> > > l.

RLR LRL RL RLRLRRLR RLRLRLRL RLRLRRLR

>>.> > - >>> - 2.

RLR LRL R L RLRLRRLR RLRLRLRL RLRLRRLR

Etglt bar phrases made by combtnlng materlal from tlle two and four bar phrases and addlng varlatlons.

3. >>> >>:>

RLRLRLRL R L R LR L R L RLRLRLRL R L R LR L R L >>:> > ->> >>>.> >

RLR LRL R L RLRLRLR L RLRLRLRL RLRLRLRL

4. >>>>> >>>' -

RLRLRLRL RLRLRRLR RLRLRLRL RLRLRRLR >>> :> >> >' > >.>> - - >> :> :> -

LRLLRLRL RLRLRRLR LRLLRLRL RLRLRRLR

t06 SnhCru&

Samba Cnrzado

The word ouz.odo llterally means crosrcd rn Portuguege. Hence Sa'|ba Crurodo mc.tr. cra.€d Sanba. Ttre crosB€d rd€rs to ]/our arms belng crocrcd at the drum set. Your lcft hand cras orlr J,our rlgtrt and pliays the Surdo part8, whfle your rtglrt hand play8 vartous Samba phrarer qr thc l|are drum (flgures I & 2t. Wure 3 on the next pdge slwws a close-up oJ tLe hand prrg.lt&.ntor *ttlrr t2 slrorL nl,{:ted. notc oJ UE surdo pattem. Tfe hdcxlnger helps keep the stlck agoltrst tlre hd tlrE yg.rr otlAr twtd E notfitee to mute the drum.) Thts approach mlght have developcd ltr part bccrur tnt people are rrght handed. Most of the trnprovtstng fn these patterns ls done wtth onc hand qr thc lrrre whlle the other plays the Surdo ostlnatos on the toms, Slnce Braztllan drum sct pla]'cra rrc aenarrlly not ao technlcally ortented as Amerlcan drummerc thts approach may have cvolrrcd fn pert to dlot the strong hard to do the lmprovtslng. (ThrE te Jurt a thcory and ls not a historlcal fact.l Ydr rhouH h pracflce thesc patterns wlth th€ tradfuonal crurddo approach. Then Jrou should rc|vtrac thc hrndr md play all the Surdo parts wnh thc rrght hand and rmprovrse wlth the l€ft hand. You can rl,.o Frt . tor tom on the l€ft Etde of your set, and play the pettcrm dthe Surdo ln thc left hand. Th lmltrsv|atbn wrll stll be ln the rtgfrt, but pur hands won't bc 6o.sed.

Flgure 1

F'tgure 2 l07 Ftrst, work on plaJdng the followtng surdo patterns. You can pracuce thlE wtth thc lcft lmnd Surdo vtth both now, do all the pattern s (jruzado, then woik on thi opposlt€. Or you canpractlce the on h"rrd" ,ro*. llri Surdo pattern on a stngle drum ls piayed wlth one hand, by phyfng a d€ad'stohe the downbeat, and an open stroke on the upbeat'

l08 S*ctu.Jo

Once 5ou're comfctable plarytr4lthe Surdo part rlth one hand, add thc marc drum. Dt wI tiltl r€p€aftE a two bar phrase. When pu have a gird Srww happqdngl ],ou cdl bcgb tryot El }IltEI"

These are two very conrmon phrases: ' j-7 n+ 'Ill*IJ lJ"-tl' ,' ' ne rf ,fl hl-ll '[] il

Here are aome more ootnmon phrases. Aho, go back and play all the tro bar pittcrnr ftm ihe fust Samba s€cdon. Combtne all the two bar phrarer wtth all of the Surdo pattcrm.

r-3-1 t-3-r l. Ti-.r rno J J J J J I J J J J Jil l.l

' J-fTlrJ-rl J-r-l J I nO l, il

'nej-l-rl-fill+JIJrhil

you If 1ou harc trouble puttfng the two part! tollether you can wrltc one und6 thc otbcr rc c"tr sc" *ho" the hands piay together and apert. Snare pattern I abow wlth Surdo prttdn { tm the prcvlous page would look llke thls:

109 Srazii[ian rham S et Kfrytfu

Samba Marcha

Ttre $arnba Marctra was dertved from a combtnauon of varlous Samba stylee and thc Portu' gues€ mtlttary parades. It Intttally evolved througlr adapthg the rhythmo of the parade snsrc drum to the Samba groo\rc. The Samba Marcha ls play€d at Elow to medlum tempos. You'll be worhng prma' rily wlth snare and Surdo patterns.

Followtng ts a balrtc pattern. Nouce the snare pattern ls the same as the bastc pattcrn &om thc p€rcuaaton score of an Escola de Samba. YouYe playlng a scaled down Surdo part dl thc f,oor tm' The roll on beat three ts done ae a one handed buzz whlle the rlght hand plays thc flod tom dmulta' neously. T'hts ls only a skeleton pattern. There are many varlauons that can be played.

Another way to play the Samba Marcha ls to play the snare pattern wtth or y one hand. Then play phrases on two toms or mounted percusalon trstruments wlth the other hand. lSone emmples oJ phrases are on tlv neft IWe,) If you play the snare wltll the rfg[t hand, lou'll harc to croar orrcr your rubt arm wtth your left. You'll be playhg cruzdda. Thts ls the tradtttonal way to do tttlE. You can do lt both ways.

Start by pracuctng the snare drum part $rtth your rg[rt hand. When you're comfortablc work wlth phrases fn the left hand. Thls requlres a blt of coordlnauon, so don't g€t dlscouragcd lf ],ou can't do lt rlgtrt away. Tty thts rhythm wlth dtfierent foot pattems and finally, work on frnprovlilng wtth the Ieft hand.

Play the followtng pattern on the snare wtth your rtgbt hand. When you're comfortable, add thc lcfr hand parts.

110 s*rb{,e

Play the followtng patterns wtth the left hand on your toms or agr$o bella:

1. ,n* I J J .')|*|lJ,JJil

3. ,ne r# r)llJ ItJ-r-1 il

Fd moe combtnauons, contlnue the lsrerc part wlth the one hand, end to b.cl to thc tn bar Samba phrases from the Bostc Drum Set Ap4,/r!,4,?4js s€cuon, Take the two bar phnrcl md tnpmvlre, brealmg them up between two toms, lmprovltc accents and orchestrauon! on ),our tct.

If you're havhg trouble playhg these cqnbtuuons, lt may help to lcc thc tgo Frt tqFtlE- one on top of the other-as nre dld wtth the Batucada e

R.H.

L.H.

R.H.

L.H.

lll $amba de Partido Alto

lvfany Samba rhythm styles harrc dtly rrcry subtle dlfierencee betw€en them |n thc pcrcuadon rhythmr ani tnstrumeritaUor. tVfany ttmes, the pcrcusslon stays more o less the Eamc, ,nd lfr thc frar--ry, lyrlc style, or the regon that a Sambaemanatee from that determh€s fts denuty and namc. lCot all Sadba sBtes are ltke Orts ttrougS. The ParUdo Alto ls a sty,le that has bU dttrcrcncc. tn botlt lt! lyrtc approadt and lts rhythms.

In the vocal area, thts style features short rqreated chorus passages that the enscmble ltngcrs alrswer wlth lmprovlsed verees. At the poht of tts de\rclopment, many Sambas featured long wcal passages wfth no lmprovlsauon.

In the rhythmtc area, lt contalna some sjmcopated rhythm patterns that the oth6 semba stytes do not-tlie most prevalent of thes€ behg the strong accent ofi of the first beat, and thc acccnt ori the and of beat tlree: Tlr€s€ are marked moitly by the panderro, the culca, and thc tanb{trlrn. TtrG snare part ls also drferent than tn most other Carnaval Sambas. Althougtr |n a slmPle Parfldo Alto thc Surdo-sull marks the downbeats, tt also often plays the otlrer slmcopauons and rhythtdc lrnea. Fol' lowtrg ls a score lustraflng a baslc Parfldo Alto for percusalon.

Pendclro

Culco;

Co;|x,a

Surdo Marca'ga6

Suldo Reslrosta

$urdo Coftadar

rt2 SorttDcffiorlto

FoUowlng ls the most common way to pliry tl r rhythm on the drum rct. Thc petcm c.n d.o be played startrng wlth the Eecond bar of the phrare. Remember that l|ou dqr't thrnl d thL r. fanrd or reverse. Play accordlng to how lt soundr bcrt wlth the melody and thc rhythm .cctlon arrangement. For all the followlng oamplee the top ltne marked "f l,s thc hl-hrt ard thc bottm lhc ts snare and baEs drum. lretrucuons for oth€r cornblnauonE and varlaudrr foltor thc crtryfer.

Here ls a common varlatlon. It ls also notatcd ln both posltlons.

Now pracdce hrprovlstng \Erlatlons. Ttrtr rhythm lends ltself to a lot d funt-*ylc tntcrpcte- Uons, so thlnk of thte factor too as you're comlDg up rlth groov€s. There are romc varl,rtldr. ('rr thc foUowhg page. In an arrangement of a contemporary Eong tt is very common for ore p.rt d tftc adta to b€ Parudo Alto and another to be a regular ramba goove. Itacuce gofng back ard fortlr bctrtcn the two tlrycs of rhythms. It rs very lrnportant to be ablc to go back and forth smoothly, a! t€ll ||r .ct uP the tu/o feelB urntr lllls and varlatlons.

ll3 Here are a few more combtnatlons.

ll4 Sn6aDtuftilo fl[to

When you're comfortable wtth all of the patterns do the follourlng: l. Change the rlde from the hl-hat to the cyrnbal and play one of the three ballc aUnetor ln the left foot. There are three baslc rhythmc you can play ln your left fmt:

Half notes (the orw and fiuo,qemember gou're In cut frne) OlJbeats (the 'ands' oJ orle o;td tttso) QuartBrs (one-and. tut o-and).

Each fill change the overall feel plur gfrrc you an added technlcal detatl to focru qr tn tetrrs of coordlnatlon. You'll go through the petterns three tlmes; oncc wtth each of thc lc{t fioot varlatlons.

2. Go back to rfdfrg on the hl-hat. Change the rtglrt hand rtde pattern. Ucc the ortlnrtor from tlre sarrrba SuggesttonsJorVartattons Andlmproutsatlon sectlon. Go thrqrgh all d the ostlnato rtde varlattons. Each wlll change the feel and glve you an addltlond techntcd element to address.

3. When you're comfortable wtth the nw rlde patterns put them on the rtdc cymbal end combtne them wtth the three left foot (hl-hat) ostlnatos. Agaln you'll haw a nsw cocdlnetlqt element to address as well as a wealth of vartatlons.

4. To really cover thls sectlon thorouglrly you should go back and apply all of the rugertlcrs for varlatlons from all of the samba g€ctlons thus far.

5. Improvlse and comblne all of thls rnaterlal to develop your own varlatlonr.

ll5 Samba in g/4

In addruon to betng played tn Aro, there are a couple of other pulses that are qulte common for the Samba. One lE three, and the other one lE seuen, dlscuss€d ln the no.t s€cUon. Ttrc foot pattern plialrcd fn three ls the same as the one for the S'amba ln two, but of cpurs€ the onc beat pattern It iep-eated three Umes. Instead of the heavler pulse belng on the upbeat of the bar, aE tn thc duple mctcr' thc etrorg beat l's the downbeat of each bar' Agaln' you have a foot osunato and rhJtltmlc phrasc! fd the hands. The enact same approactr ehould be taken here ae for the other Sambas. PracUcc thlt c€ctron as follows:

l. Play all phrases on the next page wnh the hands ln untson over the foot pattemi tndlcated belos',

2 Ptay the rlgtrt hand on the snar€ and fill tn the mlsslng €fgbths wtth the lcft hand- (Both hande are on the snare.)

3. Do the sane as number two orcept play the left hand on the tu-hat.

4, PLay the stx osthatos from sdrnb4; suggestlansJor vafTdtlons aftd Lturroutso,tlon Eccfon ofi thc ht-hat and then the cymbals, wtth the folowrng phrases ln the left hand'

For addlflonal vartauons and concepts for lmprovrsaEon apply all of the rnstrucflonE ftom that samba secuon to thc rhytlrms wrttten horc.

Here are three foot patterns. The top llne ls the bass drum and the bottom the hl-hat.

116 SnhbS/4

Here are some one bar phrases you canr ulc to get started. Once pute comfortabb, Frt thcm togethcr fnto tso bar and longer phrase8.

,'gfrfryfrr 4 rnt J'J-l FH ll Uf-l

z Et fiyJl .F-i-1il Erntrj-lrEl']lf

B,nf, J'l 6 r[fr J:-:.f fl]il fi uJ-l|| Y )

Here are some examples of two bar phrarer.

1. Jl nt ,I-IITII Jl ,l-lj-J|t

Ht J:fl-:Jll f fl-:"il]| 3.

By the way, lf you want to hear a greit S.mb a ln 3 | 4 check out Cmuo y e.anfu, by Xllbln Nasclmenta, Thls translates lnto clove and clnnrmon, It's been recorded qultc e blt by both Eradllan and Amertcan artlsts.

tt7 Samba in 7l4

Sarnb@ tn Seu€n ref6s to Samba where the seven beat phrase takes place twlce or sPhts l!1 half the leng;th of one bar. For er(ample otrcbar d?/4 t'8 played ae two bars of 7/8' Although thc actual ume etft1ature aoesn't matter, tfus does not refer to a feel where every beat gets an equal pul!.. In that drum pattern would flt Gt/€dy rnto caee Jro:u woutO play as lf there were a full bar of 7/4, and the bass the b-ar---once per beat. Thts samba tn seven ls felt and pla]rcd wfth a onet o, one4to,-onc'fu)o'thJee or a one-Auo, or.e-ADo, one-Aw dnd plulge and feel. In actual playlng you can almogt fccl thls ltr two, but v/tth the last beat belng cut ln half or dropped.

The steps for puttrng the whole thhg together are the came as fc the other Sambag. Takc thc phrases over Ure foot pattdls vrtth all the pievtoue suggeoflcrs for vadadonE and rmprordsatldr. Thc catch here fE that pu are sct of tryfng to iound out the uner€nness of the phraaes. You don't sant to thc Sambas makc thrs feel lerky or OsrupUrrc oi thE flow of the groove. The feel needs to be eanooth ltkc tn duple meter-s. f6ruwrog rj an lustratlon of how-thts dropphg of the last beat translateo lnto tlre counung of the bars:

Thto orample can be counted ltke thle: where the counttttg of the word Eevtn or y gcts dre syilable-"s€rt"-,

or lt can get counted llke thts: where the countxrg of the word four gets no "and" syllable.

It doesn't matter how you actually count as long as you're playlng the rfght feel.

Here are some baslc foot patterns:

2. ,nzJ.illFlJ1 ,ll

118 S*Is7/4

Now play the followtng patterns wlth ydrr lEnds |n unlson on the rymbal and rnerc oE th bot oEthatos. ltren pracflce the rhythrns |'1 one hand wtth the other hand Efro6ttng thc mlr.lr|. trtc.. ftls ls from the Samba |rr 2 Becflcr. Apply all of thorc approactreg here aleo,

2. rEz J .l ,)r.b,'brht il

3. rEutiY)rb?l\Y

4. rHz J J Jr, b,)J Ilil

5. rnz+lf,))J )Jil

6. rEZ J J t ,.br.bu)t il

7. rnlitJ-lr)*'btlil

119 Here are {rome of the prevtous rhythnlc pattem8 orchestrated around the snare and tomr. The center ltne lE the snare and the hlgfr and low ltnes apply to Ure hrgh and low tomE.

Now work wtth the followtng o8thatos as dde pattemB, ard pLay the phrases ftom thc prcvlou! page tn \Ertous ways around the Ht, These ostfiratos are or y two b€ats lo(U Eo tlrc/l ha\rc to bc rorinaeA out to work In seven. Dlamples of thls are on the n€td page. Another opuon ls to play thcm aE wrrtten and the5/U round out every two bars.

1. 2. rnl I ul fn

120 S*It7/4

The ostlnatos mlght get played ltke thla wtlen you artlculate them tn rsrren:

t. rnz fil niJ-ll-J il

3. rnz J J-l I .l-l J IlJ I

If Jrcu need to see both parts togethcr to rqk lt out, Just wrttc a hsnd pattan orlf, r bot pattcrn. TtrE dght be espcclally usefirl when thc rhythm ln each hand r. e llttlc Mc coqrlrr r. h orample two. Thc top llne lc c.lrmbal and snarc rnd the bottom llnc thc bar. drun rnd hl-het.

l2l tsrasiftanDrunset Wfrffis

Stgniflcant Artists and Suggested Listentng So;mbo,

FoUowlrrg 19 a liEt of compos€rs, tnstrumentallste, and €nsembles who made slgnlflcant contrlbuuons to the dErrclopment of the Samba" and are renorpned for thelr wqk Itr thls tdtom. Tlre purpocc of the ltst ls to ald fn you b€comrng famillar wtth |Inpo'tant muslclans ttr thls ldlom. In buildlng a Itbrary of thfs stylc, you can look fc recordfngs by these aftt8ts, or wlth contrlbuflqrs ftom tlrcm' Man/of tlrese arUsti are also known for thetrwork 1'1 other Braz tan styles as well,

Stnhd Bldc composer from samblsta from the Praga -Important -EarlyOnze area. Composer of many Estaglo. Part of an lnfluentlal famous carnaval sambas. songwrtttng team wfth Armando d@6 da.Bo;lantn. Margal. from Praga Atanifo Aluec -Early sarnbtsta Orlze. Composer and Performer. ---Slnger and comPoser whos€ Credlted wtth lntroducltrg the songs became very PoPular due pandelro as a samba lnstrument. to the emerglng medta of radto tn Donga the l93O's. samblsta from the Praga Assis Vslente -Early and songwrlter from Onze area. Co-composed the -Slnger flrst sannba, Pelo TeleJone. Mlnas Gerals whose sambas also Banda,Odrprn became very popular througlt group from Fraga Onze the radlo. -Sambathat couered (performed and frIorefr:a da, 9lllocr populartzed) the flrst sarnba, and songwrtter who -,9trnger PeIo Telqfone. lnnovated a style called samba P[x@utnhrr de breque, ln whlch the slnger from Praga Ortze, consld' would stop and charactertae the -Alsoered one of samba's foundlng sltuatton ln the \ntcs. fathers. Arranger who tntro- Ary Banosot duced progresslve harmony and 4omposer of Aquarela do melody to sambas. ComPoser of Brastl as well as m€rny lnterna- many famous sambas and leader ttonally recogntzed Braztltart of a group called Os Batutas. pleces. Collaborated extenslvely Ismacl Sllucl wltlx other composers. Hts composer ffom composltlons were recorded bY -ImportantEstagto. Wrote many famous many Brazlltan as well as Arnerl' and lnfluentlal sambas. can artlsts. lYltton Bastos Illoel Rosc composer from ---Gultarlst wlth maJor lnfluence -ImportantEstaglo. Co-wrote many famous ln the samba cangao stYles that and lnfluenttal sambas. led to the Bossa Nova' Annc;ndo lfiargal Brdgulnltc songwrlter of the composer from -Popular -ImportantEstaglo. Co-wrote many famous carnaval sambas. sambas wtth Blde.

t22 Dortrarrl Cagmml Fannons Escolat dr SanDc: gultarlst, -4omposer, vocallst. Fo;Lar Internatlonally reno\pned and -I)rylf*;a Prfltneba, b lnnovatlve composer of many of -Estagao the most well-known Brazlllan Manguclra standards. -Vlla IsrrDc;l Lamarthrc Baho --Arranco ds ErngeJtro composer of many Dentro -Famed samba cangao standards. -Portela Nelson Cala4ulinho eullontDo cavaqulnho and gultar Sarano -Famedplayer assoclated wlttr the -Impalo samba de morro style. Composer Various ottrcr Attlttt and lnnovator of an approach to *TheJollowtq the gultar. ane gnaat Brmrll&,n Sitas dc Ollp,elro,. artlsts urhose mustc has ben composer of many tnfluenced bg the many -Famedsambas de morro. songsfglles oJ BruzlL Thelr muslc Clemenths dc Jeeus ls not alwags erclustuly samba" 4onsldered a llvlng legend who -NtrraLgd,o recorded her flrst album when 4larrr lVuncr she was ln her late slxtles. She &tvallw revlved many obscure Braztltarr -Feltfn Regbu pleces from many styles. -8tls Betltgirth, Mrrrtfitho da,Vlln 4o;lColeta-Marla known composer and Buataur -Wellleader of famous Escolas de 4h[co Samba. Innovator of approaches 4iltonNa.*brnb to the Escola's Enredos of the -DJaoan slxtles. Lhts % Ketl 4actanwVcloap-Iaan of many carnaval -Composer fun sambas. Stgnlflcant ftgure ln the -Iorge4ltfu,rf;oCU samba de morro movement of Ma the l95O's. -Tonlnho Pa,ulttt p dc Vialrr samba ftgure and founder-MaJor of the Escola de Samba Portela.

t23 $ra.si[ian tDrun S et Kfiytfinu

ChorolChorinho

The ChoroF+r Chortnho---€tyle was born ln Rto de Jan€{ro |Ir the mld to late nhctccnth ccn- tury. It ts a style that haa clearly down the tnfluence that Jazz and rmprovtsauon, as wcll aa Europcan a;d songstyles, n d hra ott -t stctane tn Brazil. Early Choro muslc was stjrrrqai to the- Uma"oa n g ityies that vrcre de\rclophg ln New Orleans. Both ortdbtted the ass|milauon of thc Afrlcan culture-a with inprovrsauon, In some e-sttmauons, Choro aren predated the New Orlcanr stldes tfraf were LaAmg to thJ development of what ls now orur Jazz. Bearhg tn mlnd how muslcslly ortcntcd the Brazlttan culture ts, thts 13 certalnly posstble.

Ttre Choro ts a fast to super-fast tempo style ortgtnally featurlng the flut€, as lead lnstrumcnt, the cavaqutnho, provtdlng rhytdmlc accomp-atttntttt, tft" Srlt"t' often phyfng the bag3 part!' and percuoef6n. Thts-tnstrum;ntauon has grourn ov€r ttme to tncorporate all the hstrumente 5rou woufd progrcsslonE modul'a' ir"a1' t , rrr .-.tsUc or el€ctrtc Jazz gorip. It feat ttes soptttsUcated harmonfc passages. the fluust would trngrovtse m9l9{ce and the flons, and dfficult melodrc -try rradtuonally, rhythm tnstruments would to-trnftate the phrase. An trnprovls€d .rblogue would detrclop' untl thc rhittrm could no longer keep up wtth the lead. T'l s po11t-was called the dcrrubda, 66JdUrW apolt. Miny Choros were *ttttetr for the challenge of performing ttre song and tlre dare bctsccn the jolofst and the other mustctans."pectffcatly ioday ttrere are many styllzed lnteqrretauons of th'ts song form' and all contlnue to have the splrlt of Ule lnstrumental ctrallenge to the pla]ter'

FoUowtng are some ba8lc patterns played for the Choro. Llke all other drum sct parts rn thr8 mualc, you are &awrng ftom percusston parts f6 your patterns. Slnce the style l3 lmprovrsetlonal fn nature,-these patternslecode pst a framework. thtnk of Urem ltke a Jazz groorc. Y, ou can do wtth them whaterrcr the mustc calls ior and ]tour rmagtnauon allows' Number one ls for hl'hat and baEs drum, number two ls played on the strare, yotr can add two and four on the ht-hat wtth Itour lcft foot. Number three fs a full drum set adaptauon. These are only ftarneworks 8o lnprovtse. Arso practle t!.ese pdtterns ]4/lth the Bal,l6 boss drum pattern Agatr, s|Irce the style te tnprovkatlond and llrstru' mentdl, many dffierent vartauons have bien dertved ftom lt and tt has been hterpreted tn many cilfierent walis. you should approach thls style ltke you would playlng Jazz' You need to bc ablc to Just play ftee$ wfth a varlety of rhythms and follow and hteract wtth the |mprovisauon'

t24 8oio6-Intto&ctto; fu{ fu**fr fure

Bafa6 Introduction

The cmccptual appnoach for the Bara6 and rclated styleE on the drum rat Lr much ltle thet br the Samba. It rs ako a otyle whos€ patterns are barrc frameworks from whlch you dctrclq tfrc ftcl h wtratercr muslcal sltuauon you are tn. Agah, much llkc the approach to playtng Jatzdou hrvt aeveral q|lres of patterne you uae and the rert lr tnproebauonal. If thc dhratdr Fr rt !r !r rFt df€ntcd towardd lmprovlsauon, then you would ur more r€pcflU\rc pattcrnr ard occerlond vrfi- flons. Thc matcrlal that follows sfiouH gve ]rou plcnry to draw ftom fcsoct ath,rrttd[ thrt rcqube theee t1ryes of rhythms. Agah, go back and rerncr the percusslon parts. Llrtcn to r. muclr d thtr Cyle as possrblc and leam as many songs as l()u oan. Mcrnorlze thls materlal and thcn prec{lcc lEFoY|frIg| wlth tt to develop your orrn approach.

As menUoned tn the T'lpsJor Drum Set lcctlon, keep ln mtnd that orchcltrr0ng your prttctn on the drum set dlfferently than you normally do e.n glve you totally new groovr., Mrny tlre. tltc sucklng patterns remaln the same. You Just movr them to dlfferent sound lourccl and the fccl changee completely. Thfs seems obvloue but you'U bc surprtsed at holv many ncs thhga Srou rtll cme up wlth by worldng wtth thls. Along the same llnel, you wlll also often kcca the rhyo|tntc pdtcrn but you fill suck lt dlfierently. Thls wtll also gtve j,qr a completely dtfierent feel '.meand rct d padullt&s around the drum klt.

Bo;io,6 Peluussion Score

H€re ts a baslc gcore of the tradruonal p6cu$lon B€cuon to refterh pur maray bee pu start on the drum set parts. Ttrese are only barfc pettems, ln actual playfrg thcre can bc rnrr]r nrlr- tlons.

Zahwnfu,

&lxa

Trtongulo

Ago-go

P@ttdclro

125 Baia6 Basic Drum Set Approaches

Follov/ng are vartouo ap'proaches to the Bata6 rhythm. Ltke the other rh5rttrms, thcrc arc baslc frameworks vrhfch denEfy tt, and many dlfierent walts lt can bc played. Get famfllsr wlth fts baslc grooveo so can funcUon |n thls stjte. Onc€ thl3 ls dqrc' you -canpattcrns and a few tnat wort fu 5mu 5ou start opandfng-to the other approaches. It ls tmportant that you tmprovlsc to becomc cotnfortable wfth vartauqrs, and to e,eand ]tour vocabulary.

Tlre foundaflon for the Bata6 ts the followhg pattern, wtrfch ls played on tle bass drum or a combtnaUon of the bass drum and tf1e floor tom It ls based on the rhythm played on the Surdo or Tabumba4h'ebafF drum of the Bata6.

As a vartatlon the last note of the three or the flrst note of the ttrree ls omltted.

Vartatlon l:

Varlatlon 2:

These are two very common varlatlons to the baslc patterns above. They are not played as steady patterns but as varlattons-the way you would play a ffll or s5mcopatlon.

126 lDaiafi-lhsb Dtv] #- ntryxfiesIt

Along wlth the bass drum pattems on thc prcvrous palie, pu can play any q|c d thc fllil|ng hl-hat patterrc. Comblne all three of these wlth dl of the bage drum pattcrn!.

Now that 5ou have tlre foot patt€rns do*n, rtart addfng the handr. Thc follo*tng f r Ery baslc tlme fccl whlch wqks very well when there le a lot of other pcrcu$rm hvolvcd bccaulc d lta r@Uc- Ity. Trtc}refdls arc plaged on flE M-rmt a,Er tIE fusbJc,lt ptcm, Ve @n aLlo do ttdt ant E.rntc andbass drum-) You wll add embelllshrfrents tr thc form of accents, opcnhg the hf-hat, hrzz toles, rollr, ctc. If you can do thrs flthout any prdlcm thcn move ahead. If 5oule not fem rar c cmbt- able wtth thl,s fecl, pracuce the errcrcts€ that folbryt.

Thls er.erctse ydll help you get a trme fccl hrppcnfng wrth thc thrce foot p.ttcmr dr th. p.cvl- ous page foot. Take all the rhythms on the ncxt p!8e and pracuce them ar follorr:

1. Both hands play on the hl-hat (also do thlc on ttre snare drum). Practlce the *rcsrtr. You are golng througlr accenflng one elghth note at a ttme. Nottc-e how each onc fccl. rrd tFr lt changes the tlme feel sltglrtly.

2. Do the same as number one except open the ht-hat where tJre acrccnt lr wrltten.

3. Improvlse. Incorporate all klnds of embclltshments.

t27 lBrazi[ion lDrum Set Kfiytfrrns

Here ts the stlcktng wrltten out wtth the accents:

l. 5.

2. 6.

3. 7.

4. 8.

Now do thts eame thtng on the snare and around the Bet. Tt€n vork wlth thlE samc concc?t but wlth dlfferent Buckrngp. For example, ltrstead of RLRL-RLRL try usfng RRLR-RRLR 6 RRLR'RLRL Improvlsc wtth theee sUchngs around the s€t, They wlll €ach result |n vEry drfierent sounds and patt€rnE.

r28 lfuial-lbsic lDtlrrlrr ft ^?frhs

Ne)d, I suggest pluylng some phrases wtth thc hends ln unlson

Here are some phrases to start wlth. You rhould also go back and urc dl thc tro b.r phras ftom the Samba and Bossa Nova secuons.

l. J J J-J7 l-J-'-: J-J-J n e t I

2. ? i-Illil 'ne '[] ' lJlJ

4. I 'tuJ J I lufr'lIlulil

r-3-r ,-3-,

t29 tsrazifion rDrutn Set Kfrgtfrn,

Now that you've done the prellmlnary exerclses, proceed wfth the followlng:

l. The accent vartattons that you practtced on the hl-hat should also be done on the snare drum. Add accents. buzz strokes, rlm shots, etc.

2. Take all the two bar phrases you Just played wtth the hands ln unlson over the fmt patterns, and practlce the;fttltng-tn exerclse from the Samba: SuggesttonsJorVartattons and Improutsa tlon sectton that you dld wlth the Samba rhythms. Thts should g[ve you a lot of vartaflons. ff you want more wrltten combtnatlons to work wlth, use all of the two bar Samba and Bossa Nova rhythms.

3. Thls ls a very tradltlonal way of playtng Baia6 on the snare drum. It comes from the Maxtxe rhythm.

4. Follourtng are two very common approaches to the Bala6 rhythm on the drum set. The patterns lnvolve playtng an ostlnato ln the rtght hand, wlth a steady phrase ln the left hand over the bastc foot pattern. The only dlfference between the two ls the rtgftt hand, but notlce how lt changes the feel.

130 lfuiad -ll*,.ir. lDrlon Sct AlFwIrs

The ne]d approach lnvolves a thorouglr worllng of varlous osunator ln the handr. Althouth not tradluonal ln pracuce, the results gve you somc tFcat grooves for thls st5rle, and tt l! aLo a ,rcrt €xercls€ for coordtnauon and general technlque,

Ostlnatos wtl be used ln the followlng ya]t!:

l. Both hands playlng the osthato lrl unlron. 2. One hand playhg one osttnato and thc other hand playhg another orthato E|Inultaneously. 3. One hand playhg an osthato and t}ie other tnprovlstng,

The final result should b€ that llou usc a cmblnauon of all the technlquc!-{,tunlto. ln (f|C or both hands, playhg flgures ln unlson, and breattrg thhgs uf-eo that d y thc mudc etrd ]Iour lmaglnauon are dlctathg what Jtou play.

Followlng ts a Ust of all the flfteen posslblc one beat combttauons worklng from onc h!tr notc to lts four elgbth note subdlvlslons. You can alro do thls worktng from one quartcr notc to ltr four slxteenth note subdlvlslons. Ttre sound wlll be the same. Only the notatlon wlll be dtfierent.

Here ls a sp€clllc approach for worhng vlth the ostlnatos:

l. Play all the osttnatos wlth the hands ln unlson over all of the foot patterns. Thls may feel awlnrard at flrst, dependlng on your technlcal level. Just kecp wtrkln8 ql lt. It will be geat for your ttme and coordlnatlon. When you're comfortable wtth thlr start on number two.

2. Take one ostlnato at a tlme ln the rlght hand, and play all the other osttnatoc wtth ttrc left hand. When you've played all flfteen agalnst the one ln your rlglt hand, prrctloe tmprovtsIrg phrases whlle keeplng the osttnato ln your other hand. Work unfll Jpu can tmprovlse freely wtthout changlng the ostlnato pattern. Ag a supplemcntal exerelse, you can read rhythm ltnes ltke those ln the ModernRadtngTextlnlllby Louls Bellson and Gtl Brelnes, or Sgnmpctton by Ted Reed.

In the course of thts exerelse you wlll ffnd that some rhythms feel rrcry natural, and some feel very awl

3. If you really want a coordlnatlon workout, take orerclse number two and rewrre lt. That ts, play the flxed osttnato ildth the left hand and do the workouts wtth the rlgltt hand.

4. Next I suggest you ueateJked patterns

t31 Erui[inn lhun Set Xftqtfu

Here are the fffteen rhyttrms yotrtl use as ]rour ostlnato patterns . I shoryIg srggestgg.t nenu@ flrffi.

rE+ylj ylJ I

lo.

ll.

5. 12. rne fi+,rl t il

6. 13. rnoJ flJ Jlil

t4. iE+ fTJ , *JTJ il

15. rne J-TTI iTTlil t32 lfuiod-lhtic lDrutt.tct nntwfias

Here are some e>

133 The followtng comblnauons are ldentlcal to the ones you practlced ln one of the Samba sec- gons. They here because they relate dlrecfly to the ostlnato patterns you were Just worktng on, and they make great Baia6 grooves.

lA. Hl J-If:[ Hl If]-l||

18. 38. E* J-l-Ill El J-I-:il

2A' m 4A. # 28. |EIJTIJ||48. #

t34 Signiflcant Artists and Suggested Llgtenlng tutol6

Fouowfng ls a ltst of arUsts and ensemblee who made stgnlflcant cutrtbuuon. to thc dcrdop- ment of the Bala6 and related northem styles. T'lrcy are renocrrred for thctr work ln the* dfomr, Ttrere are rnany et5rles ftorn the north of Braztl and th|r lirt presents arttsts under thls one broad c.tcaory. Look fc thetr names and compoelUons on the rccddlngs of other arttsts a! wcll.

frofirc;l Cagmml Flthos dc tuttdJn;l of the most renowned and goup -One of Candomble lnfluentlal composers from -Afox€devotees that orlglnatcd around Bahla. Hls songs have been 1950. They were named after performed by many of Brazll's Matratma Ghandl and were a geatest arttsts as well as sung trlbute to hls message of tnde- by hlm. pendence and non-vlolent Lu|c Gonzaga reslstance. The goup and thelr -Most reno\ilned ftgure of Bala6 muslc had a strong resurgenoe muslc. He was a composer, ln the seventles wlth the re- slnger, accordlonlst and cultural newed lnterest tn Afrlcan herl- flgurehead from the north. tage. Recorded the song Batad ln Olodum 1946. Thls became the name for ln the early elg[tles ln thls new style that he practtcally -FormedBahta, thts Btoco can almst bc relnvented. called a soclety. It lg prlmarlly a Lamplfro folklorlc goup that har tnte- stnger and grated many styles wlth the -Accordlonlst,outlaw from the north. He was a styles of Bahla. It has a pop hero-bandlt figure who lnsplred group connected to lt and arr Lulz Gonzaga and others. organlzatton that sponsors daclcson do Pandclro forums for the awareness of songwrlter and percus- -Slnger, Afrlcan culture tn Brazll. slonlst. Master of two st5rles, AJros e Afoxex Coco and Embolada. recordtng of a collec- Domhqulnhos -Excellenttton of Afro-Braztllan muslc frorr songwrlter. Well- the northern reglons. -Accordlonlst,known tn the style called;forro. ,Ioai fu Vale Other art stt plror mutb ---Songwrlter and stnger. Al- hrcludcs t4f|lrrcrtcrc tlvnir 3irl thouglr not well-known, he northern cty&ar: composed many pleces that have -,-ilargarethUenry been recorded by famous Brazll- Pacrrogll -Hermeto lan artlsts. -ffcnd l/ascorrcclor -$ergio Mendct -Atrto Marelra -Tonhtp ffi;a.

135 lErazi[ian :hun Set Mytfr*

Maracatu

The Maracatu has roots ln nortlr€f,n Brazll; more speclfically Recfe, ln the state d Pcrnambuo. It ls an Afto-Braz tan processtonal dance p€rfcmed durlng Carnaval ln thesc arcas. It fs dcf,fi/cd ftom the Conga or @ngada-processlonal dances of Afrtcan orlglns presefit ln the north of Braztl. Thcrc are hlstortcal accoun-ts Urat Ur tts early tncarnauons tt was us€d as rltual muslc played for the croTnlrE of Aftrcan ldngs.

Followtr0g is a Ecore of the percusston s€cuon parta for the Maracatu. As J|ou can cce ft rclates v€ry closely to the BaIa6.

Zahwnhq

Co;lxo;

Tr,f,angulo

Agego

Catclxt

Drum set adaptauons of thfs rhythm can vary geatly. To b€gtn wtth, llou catr u3c thc folloq'|lrg three bass drum patterns. lihey are the same ones used ltr tlre Bala6. On the foUotplng page f! a common varl,auon. Play the hf-hat on beats two and four, one and thrce, or on all four quartcrc. nro and four ls the most common-

136 Nsra.a

Hcre ls anoth€r foot pattern Jrou can uc rr clth€r part of l,our tlmc fccl 6 e! r yrrlrtEr to dre of the other patterns.

Thla ls a verslon of the tradltlonal snare drum pattern, You could rtart },qrr drum Et ftcl by playtng tlds over the foot pattern above.

Another ver5r efiecflrre way of playhg ttrle r$ie ls to kecp an osttnato stth pur feet, (u* thc Bafa6 foot pattern), and play the followtng. Thclc prttem8 contaln the snarc drum part, dorg rlth key lnflectlons of the zabumba drum played on thc to|tr!.

RLRL RLRLRLRL R L BRR

Tllese are a€mpleE trcorporatlng percu.Jon parts, One hand-the top Unc mrtlcd 'f-|. playlng the agego bell pattern, wlth the othcr ple;ang a condensed rrcrctdr of the rebunbr rhythm, {or vartiattons), on the toma or snare. The bottom $rrtcm l8 the bass drum and hr-het.

t. 2.

Now for a thlrd pattern comblre the fuet bar of each of the last two erampler. Thlr tr e very tSplcal two bar phrase. t37 Marcha

Thts lttarcho ts dtfferent ftom the tunba Marcl1e,. Although n rs alEo rooted, Xr part' ln the milttary parade traduons, thfs eongstyle3' roots are tn the notheact of Braal. Thfs dance and rhythm f mori &recUy related to the Afio-Braz lan muslcs of the states of Bahfa and Pernambuco' It 13 most often pcrformcd durhg the Carnaval festMfles of these regtons.

The ffrst two o(amples show the rhythm of the zabumba, (or surdo/bass drum), and the pratos, (the cymbals). Play thts wtth your bass drum and ht-hat on the drum set. The flrst cxamplc ls the most baalc pattern. The second ls a common varlauon.

The ne:d two s

138 ftYoo

Fruvo

The Frevo ls a stjrle derlved ftom the Marche. It ts an lnstrumental and dancc lon$tylc frdr Redfe that evolved ln the early lgoo's. Lat€r, ln thc l97o's, ft waE tntegretcd wlth meny rck .ryh.. Tte name comes ftom the Portuguese word..fenrr, whldl ln Engllsh meanr to boil. Agdn, tt r. tut commonly pla]rcd durhg Carnaval. It is a fast tcmpo rhythm whlch fncludc! hrtrumcntd chr|lcnaag for the playero and whose rock trstmmental lntcrpretauons sometlmes bddcr on frcnzy. Althor$ the drum s€t parts are relauvely slmple, the enurc .osurtjde can be qulte eynqatcd. Ttrc firrt oq!|c shows the bass drum and cymbals. The second and thlrd er

1. 2.

3a. >:> >>:>. -

139 Catarete

Thls songstyte ts derlved from the Indlan culture of northeastem Brazl. It ls t|Itr sr to thc Bala64fke man! ityles of the northeast-but evolved wlth a grcater bfluence ftom tlrc Indan culhrrc' and a lcescr tnfluenc€ from the Aftlcan culturo-the opposlte of most other mu6fc from tl||r rcgtm. nrc blggest dlfier€nce on drum set ls ln the ba88 drum patt€rxr'

Thls ls a drum set pattern for the Catarete.

rhythme When 5rou are comfortable wlth the drun set pattern, you can subsfltute the follwlng for your rlde pattern.

l. 2. 3. oo ,H*'il'l ll 'Bl't-J'l il 'B*,f].l il

4. 5. ,Bl .l .l-Jil ,H*,f:'l I

140 ^Ft6 Afox6

lhre lg another rhythm ftom Bahla and thc Scncral northcastern rcghl. Tltc lrrle rt.t.Afrlc.rr popuhtron of tlrrs regtrcn heavtly tnflucnced thrr rcrSrtyte. Tlrc $o* has meny rhlthDrc rrrLtbrr|r and dertvauons. Its rbots are |tl the rltual musrc d Cllldomble, wtrfch ls dcrft ld ftm thc Ycubr culturc |n Braztl. Yoruba stem8 ftom the Ntgerlan culture. It ls mainly pcrformcd by Bfu lfie groups of mootly black or mulato muslclans who dcal prlmarlly wlth the Aftlcan cultutc d E .d|l.n iusic. tlre tradrflonal rnstruments of Afox6 are thc three Ataboque-the rum, rumpl end lc-thc gongu€--a low pltched ago-go bell, and varlour gu.nzo--shakers'

trollowtng are two pattcrns you can uEG to plry thfs rhythm on thc drum rct. You crn .lD u- the foot patterns ftom the Bala6 for thrs rhytlm.

141 'ffu Essena of Arazi[ion lPerausion and Drwn Set

Glossary

The deltnlflons here are pres€nted ln the contq

(whlch Qfoxd (stglc) rhythms on the strln$, caldrd are songstyle and rhythm dertved ftom the shaken, also for rhythm), and a coln held -Arltual muslc of Candomble (the Yoruban agafnst the metal strlng (used to vlbrate the trlbes and relt$on of Ntgerla) played maxrly strhg and ereate the unlque sound on t}re durtng Carnaval ln Salvador, Bahla. instrument). Afox6 (fiwtrunent) Bomho (The largest of -A gourd unapped wnh beads that are -Ttre Brazlllan bass drum. strung on chords. the bass drums.) Bossc llloua &ag6 tn the -A number of dlfferent slze bells, (usually -Ttre style of muslc whlch developd two), welded together by a fleflble metal late l95O's ln Fllo de Janelro. It lncluded rod. Of Afrlcan origln. Very common in some elements of the Samba, but lntro' Carnaval songstyles. duced a unlque, subtle vocal style and a new rhythmtc style on the acoustlc gultar. &tto The harmonles were lnlluenced by both whlstle. More lndlgienously, a Samba -A European and muslcs. whtstle played by the baterla's director ln Jazz an Escola de Samba to cue the sectlons of Co;fx;a the performance. -.Snare drum. Ataha4ue Co;ixeta -The conga drum lndlgenous to Candombld -Wood block or temple block. muslc. Name of the conga drum in Brazll. Candomhle Ec.ftfis, -Afro-Brazlllan rellglon derlved ftom the -$tate ln northeastern Brazll wlth a large Yoruba (West Afrlcan/Ntgertan) culhrre. Afrlcan populatlon. Area where Africart Practtced mosfly ln Bahla. It lncorporates muslcal lnfluence is most prevalent. the Atabaque drums (Braelllan conga tula,l6 drums). -The muslcal songstyle of Bahl,a. Contaln- Capoelra lng much Afrlcan lrnfluence, lt ls character- -Dance and Marttal-Art form of Afrlcan lzed by lts Zabumba rhythm, triangle and descent, (from the Bantu culture of Angol,a)' rrarlous harmonlc and melodlc characterls- practlced ln the north of Braall. It ls accom- tlcs. panted by the Berlmbau. Balxo Ctrrtoca -Bass {guftar). -Term used to descrlbe a person or an Baqueta obJect from Rto de Janetro. -Drumstlck. Colrnaao,l 4riglnally a rellgfous (roman catholtc), Elatertrr celebratlon takxrg pLace on the four days percusslon sectlon of the Escola de -The prlor to Ash Wednesday (whlch marks the Samba. A drum set. begtrentng of Lent, a perlod of fastlng and Batucada absttnence). The Amerlcan verslon urculd be -A Samba played wlth only percusslon. A Mardl Gras. percusslon Jam. Cateretd Berlmbau -brstrumental and dance songstyle dertved -The key lnstrument that accompanles from ttre Indtan culture of nortlrern Brazll. Capoelra music. It ls a wooden bow wlth a Tradtttonal dance accompanlment ls two metal strtng and a gourd used as a resona- vlollns. tor. It ts played wlth a stlck (that strikes r42 lfu Essencc of tsrui[ion gerausion an[ Drun Set

Iilorro t..ia;forlnt -As tn Sambc de Mono (Samba of the htlls). -Small tambourlne-shapcd tnctmment. Descrlbes the hllls around Rto where most Pbl€d wlth a stlck (sometlm muld-prcged! of the;fizuelas are located and where most of and the hand. the developments of Sarrba took place. Iatu or"{tca -Songstyle ftom the northeart. Predec=lu to -A delty of marry Afro-Braziltan rell$lons. the Bala6 styles. Pandellro YorzDn, -Ttre Brazlllan tambourlne. -An Afrlcan culture ftom Ngerle wtc mudc of Partldo Alto hd geat lnfluence on the doelopocnt Bracillan muslc. -Type of Samba wtth a call and response vocal style and a unlque rhythm that uas Ma an ofrshoot for many Brazlllan-Funk feels. -rt bass drum used tn the Bal86 and otts Paarfsta r$rleo from the north of Braztl. -fire Samba dancers of ttre Escola. Pottrr-futtdclra -fire flag-bearer of the Escola de Samba. Pr.atoe -Cyrrbals. Usually a hand-held palr used ln some Escolas. R'cc',orwo -Instrument made from metal or bamboo wtth rld$es. Today tt ls metal wlth sprtngs stretched across lts length. It ls scraped wlth a sttck and produces the sound of a scratcher. Most often used by Escolas ln Carnaval. rcprtnlque, (reptque) -Trro-headed, hlgfr-pltched drum used ln Escolas de Samba to glve cues to the ensemble. Also used as a solo feature ln rrarlous contempor ary Bt azlllan styles. Samh -The most famous (along wlth Bossa Nova) and lnfluentlal Brazlllan lnstrumental and dance-style. Most common tn duple meter urtth vocal choruses and syncopated orchestratlon. ffi -Samba form developed ln the early 19OO's by the mlddle and upper class muslclans featurlrng the lyrlcs and a more subdued lnstrumental approach. sambcr etwedo -fire enredo ts the thcme'sornba played by an Escola durlrng carnaval. Surdo -The bass drum of the Samba. Comes ln three slzes. Played wlttl a mallet and the hand.

t44 ghsssy

&na4uitrJro Frlgtdelra -Small four-strlnged gultar commonly used -Percusslon lnstrument made of fr5ttng tn Samba. Stmllar to a ukelele. Strlngs pans welded together and played wlth a tuned to D-G-B-D. sflck. Functlons llke the qgo-go be[s. Caxlxl Ganud -Small weaved baskets fllled urlth beads or -Weaved basket shakers fltted wlth beade. pebbles. Used as a shaker along wtth the Hafutwra Berlmbau ln Capoelra muslc. -Cuban songstyle that had an lnfluence on Cltrco;lp. the development of some Samba as well as -Metal (sometlmes wood) canlster shakers other Brazlll,an styles. usually fllled wtth beads or pebbles or sand. Ilexd Clpro -Afto-Braailfan rhythm wlth roots tn the -Instrumental style developed tn Rto tn the Yoruban culture. Usually aesoclated wlth late lSOO's featurtng fast tempos, challeng- the Afox€. tng melodtc and harmonlc passages and dortgo lmprovlsatlon. -T!rye of Samba from the southern parts of Coeo Brrazll. -Instrumental and dance songstyle ftom Innhads the northeast. -Songstyle and dance style that combtnee Conga'da. varlous rhythms from Braztl and the -Afttcan and Afro-Brazlllan processlonal Carlbbean. dances. Lttrtdu Culccr -Songstyle brouglrt to Brazll by the Bantu -Also called llon's roar or ftlctlon drum. sliaves from Angola. Influenced the early Metal or wood canlster wtth a thtn post developments of varlous Brazrlfsn styles. attached to a drum sktn. Produces a Mrrracatu groanlng or squeaktng sound. Also used to -Processlonal song and dance style dertved mlmlc hlgh pltched sounds of the human from the congada- Developed tn Reclfe and volce. nelg[rborlng reglons. Entrudo March;ri. form of carntval broug[rt to Braztl by -Early -Song and dance style of northern Braall. the Portuguese whlch tnvolved a riotous Early developments were lnfluenced by approach to the celebratlon. some European and Amerlcan two-beat Eseola dc Srrrnbrr dance styles. -Organlzatlon or muslcal soclety that Ifrarcha,-Ranrcho parades ln carnaval as well as sponsoring -,Slower verslon of the Marcha wtth more other soclal events ln the cornmunlty lt's focus on the songls melody. from. Max|l,e Faoela -Brazlllan songstyle and dance developed ln -Run dovrn or slum nelglrborhood. the late lSOO's. It was a comblnatlon of Fo116 varlous European ballroom dance stylee as -{erm sometlmes used to descrlbe a dance well as the polka, tango, Cuban habanera where northeastern styles such as Bara6 and the Afrlcan lundu. are played. Generlc term sometlmes used to Illestre-Sala descrlbe the styles themselves. -Master of ceremontes of the E*ola de freoo Samba. Marches around thre furta-Bandelm -Instrumental and dance songstyle from (flag-bearer) ln the Escola's parade. Rectfe; derlved from the Marcha. IWestre-& Bo;terta Mcote -The leader of the percusslon sectlon of the -Songstyle that ls a mlxture of reggae and Escolia de Samba. Often the muslcal Afro-Brazlllan styles from the north. conductor for the entlre enscmble.

143 158 N 10 0 't 92-2024-X |SBN 1 c',q t, ELO3920CD Book & CD US 529.95 r 7692-2024-6

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