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    Brasilian

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    Hugo
    Percusion brasilera

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    Essence : of : : Brazilian Percussion and Drum Set with Rhythm Section Parts —— Rhythms —— Songstyles ——— : —— Techniques : —— Applications By Ed Uribe ssence of Brazilian Percussion and Drum Ss “The book was desog published and produced entirely by the autho, ' + Audio CD eaterdet mixed and procucee at Big Daddy Procuctons, Englewood, NI ‘Allinsiaments played by Fd Urloe. ‘AN!photcgrapts by Gildas Bocle. = Cove Design by CPPsiebwin inc. ight © 1993, CPP/Belwin ine, Miami FL 33014 . {nemational Copyright Secured Made in USA, AURights Reserved ¥ : ce “Pi book mey be reproduced for any purposes without the express wien permission ofthe author ~ - 67 Summary 72 About the Author 3 Acknowledgments and Dedication 4 About this Presentation z: Background Information 8 Developments in Brazit Jue Gireaas Map of Brazil and Related Regions c How to Learn and Practice this Material oF a Partl Brazilian Hand Percussion AS. The Songstyles 16 Samba, Carmaval and tbe Escolas.,... = cs Ig Siaiad and other Northern Styles... . The Percussion Instruments Ups for Getting the Right Sound Surdo ne Samba Patterns for Surcdo Baias Patierns for the Surcio or Zabumba go-go Belis, teen veeteas Triangle Gatxeta Chocalo and Ganza. - Moxé, Xequeré, and Cabasa. Reco-Reco.... Tamborina Pandesre Aptio. Gillet spencer Atabaque, Congas and other Hand Drums Caixa a a rates... Repinique.... eS yee oe Cazcixs ses suntinues eeegter renner Berimbau... 8 oso sone OF The Rhythm Section oo What the Bass Player Does... rea 65 Comping Paiterns on the Piano and Gulia a Essence of Brasilien ee een ef Bsa = About the Author Tent ate 2 Sradate and faculty member of Berklee College of Music in Boston, Ma. He has Stor suit at Drummers Collective in New York Cily and appeared ns a guest ea voea nuraerous einer schools, In acdition to is role as an educator, Ed pursues on coke tore ee ‘career performing Pan major artists throughout the world, He has performed with Ray Boneter Randy Brecker, Gary Burton, Michel Camilo, Pequtto D'Rivera, George Coleman, Tamla owt Diced Byrd. Dave Samuels, David Friedman, Claudio Reditl and The Toshiko Aluyoshi-Lew Tabata Orchestra, among others. As an artist endoreer and clinician for Zildjian Cymbals, Pearl Dram, Afro Percussion, Vie [ith Sticks, KAT Inc., Korg Inc., Opeode Systems, Fishman Drixe Triggers end Remo zroducts, Ed has appeared internationally at major jazz festivals and unlveranicn one Held of mil and electronto percussion. Bd performs solo concerts and elinios of his own mud clinica ecsoee osFamuming and production work for various artists and studs Cane also a Zudl clinician /consultant and heads the electronic percussion aad Programming course at Berklee i creat aatioual leader and in-demand playér in the seid of Latin percussion. Ba has evel- ced and directs the Latin Percusston program of study for Berklee College and has written extensive Pereatignal material on this subjeet including his two books and videos fo Orestes and Afro-Cuban Percussion and Drum Set published by CPP/Belmin Ine the nae lived in Brazil and also toured the country extenswely both as a performer and gentol the music and culture. Fie also performed in Carnaval im 1888" Originally from San Fr Ed 18 currently based in New York, Te Essence of Brasibian Fe ee pan About this Presentation ‘This material isa formal organization of musical otyles that have survived and progressed fe ioeeye, fe generation through an oral wedtion. 1Lis rot muse that evelved from, of was taught through, formal education. This Is the study of folisiore. You are. in essence, learning @ language—the Janguage of Brazilian rhythms and songstyles. In learning any language. you study lis components, Cir Blehabet and its pronunciation, iow to form words from those letters. how to make sentences aind go on. The study of this matertal 's the same. You will practice basie techniques and rhythms. Tie are the components. You'll then practice putting therm together to play epeciile songstyles and to Improvise in this idiom. In the serious study of a-language, your goal is to speak, understand and be understood—to speak like a native. Your final goal in the study of a musical style should be the same ‘You should strive to play this music as t! you had learned iL in Its purest, hand-me-down, oral tradi. lon, Then you ean truly fecl vou know how (o play’ a style. The goal of this study 1s wot to learn how to Play & particular Samba or Balad beat, but to learn how to play Samba and Bala6, along with the other Styles presented. There is a big difference Fart I deals exclusively with the percussion instruments. There Is an individual section for each instrument thet includes a description of the Instrument and its traditional uses, the techniones of playing i and various rhythmic patterns for the more common styles. These include various styles of ‘Samba, Balad, Choro, Frevo, Maracatu, Afoxé and others. Applications of these Instroments and Fhythins tn styles such as jazz and funk arc also included. Part I addresses the drum sei. Fach rythm is presented separately with some baekgrsund duormation preceding the musical examples and exercises. Before the drum sot examples of each style Sheree a score of the besic pereussion. section and each instrument's respective riven, Before plaving Fea Cg Yt Practice the drum set parts. you shoud refer to these -and back to Part 1—un you know et igoct the basic rhythms of each percussion part. Keep in mind that the drum set wae not originel'y Set a this muale. To capture the essence of these atyles in your set playing you munis craw ‘whet Une perenssion plays, The more you can do this, the more traditional yeu wil sound ‘There are short rhythm section examples sticluded for you to see what the other mstruments Play in these styles, Notice how the rhythms of these instruments relate to the rhythms on the and cutting and pasting 40 you have a vamp of your ling Wo Play wong ek Te ee ee Sequencer f piano chops you can ask airiend to record versione ofthese ona ease aa you can practice win te tape zis audio recording sneludes examples from each section. Use it as your gue for how the “hythms should sound when you play them, The recording follows the ordet cf tie took, Tre Dattcmns included here are not mercly exercises. The approach of this book is for you to ‘with listening to and studying as many recordings and live performances as possible, Every ‘you have eof becca actually performing this music, what you can gain by exposure to and assuunliotlon af it 48 of temendous value, especially to the drummer /pereussionist, Before delving into the riusical examples, here ts a very brief history ofthe development of this musle and my connection to it tan Peresision and Dinas Set i — op = ‘My coming to play Brazilian as well as other Latin styl atum sct-orlented place, Walle growing up I heard a lot of musi {paid no particular attention to ft. | liked some and disliked st with integrating Latin styles with rock and funk siyies. (Groups ming.) This movement secmed much like the one that had laken Bele aa. Its true that ta some degree you are a product of your culture and your thee, but these Biles can be learned and can be played. If you can groove you can learn any style It's just like less ing. language. You have (9 be around it and speak lt enough and you'll start to sound like a native, ay eit alvays be people who wil play styles better and more trauitionally. Aceept that aaa given and try to lerrn trom these people. In the end, your best lessor willing te show you. If' someone discourages you just move on ne will be from people lke this who are nen ] began taking drum lessons I was shown, among other things, Brazilian styles ilke Rossa Nova, Samba and Baiso, and Atro-Cuban atyles like the Cha-cha ate Mane Playing these thythms wes s0 different than any of the other stuff on the dr In the course of exploring and performing this music rums. They didi't feel like they were from ‘ve discovered an unfortunate fact. Most Americans and many American musicians perceive everything south of tne Texan bodes we ee just Plain Latin—one big generic category with e singular identi supecaise, but for a musician it is unacceptable, lt is important that you become avinre of Ge sac, Aiflerences Uiat extst between the varied cultures in Latin Amerioa aid the Carfuteee Particularly in their music, and especially if you are a drummer/percussionist : co Ape Following ts a ist of a few common musical styles fram various Latin American and Carib ‘eouniries: = + Argentinas ‘Tango, Milonga, Zamba, Chacarera + Uruguay Candombe, Zamba , + Columbia: Cumbia, Bambuce : + Venezuela: oropo, Valco + Beundor: Pasillo, Taquerart + Chile: Cueea é + Peru: Guaino, Vals Peruano, La Marinera 3 © andean gtylee Baguata, Carnavatito, Vidala + Mexico: ‘Musiea Ranchera, Mariachi, Mayan Marimba Styles and forms of Danzon, Jorope Mejicano + Puerto Rico: Bomba, Plena. + Dominican Republic: Merengue + Trinidad: Caiypso, Soca ' + Haiti: Merengue. form of Freneh Variation + Jamaica: Reggae + Cuba: Son, Mambo, Cha-cha, Quaguancé, Mozambique, Bembé, Abakwa, Guajira, Charanga, Rumba styles, Bata rhythms, Songo, Conga and Comparsa, Palo And finally the topte of this books + Breil: Hossa Nova, Samba, Balas, Frevo, Maracatu, Chorinho. Capoetra, Candomble, Afoxé, Xote, Maxixe 2 nad oat {uate few of the many, and thie 1s just one part of the world. Think of the wealth of Fiytims and percussion instruments there are (o explore. Thie should be import ce ‘you for twe creatly capend socr ummer/Pereussiontct, learning the musical styles of these many calteoos wu eee eband Your rhythmle vocabulary and your playing no matter how yeu shoe te adopt cr apply ‘Mem. Socond, as a musician you have the opportuntly to reach anclotlue oe Jarge numbere of People, You can eastiy help educate people ard spread the beauly of these mein, Developments in Brazil Sines the beginning of time cultures have merged and formed new or at the very least, integrated Pillore. Unfortunately much of this merging wasitta wilful. cooperate efrar ee eee cultures. It was screrally forced upon peopics by stronger. impertalist powers whose moive wee certainly nal to de- [ueP new cultural traditions. Many times this imposition of will hes completely annihilated peoples, o: hhas left cultures tn conflicts that have lasted generations, The transferring of people from thelr home. Fy ga. was done wih West Africans mace slaves in the ftesnth throogh error tee centuries by pane pean Powers, or the drawing of a geographle boundary ehroug thelasd afc people existing intac have forced cultures to acclimate to dllerent Homelands and the nverewsce ‘unfamiliar peoples. ms st f Bravilian Percussion and Drom Set + the sulfering caused by these integrations can hardly be seen as postive, chere were seeds 23 that gave birth to musical styles that have shaped the development and direction of musle eughout the world, {When these forced mergings took place. generally a couple of things happened, The empower ing calture enslaved and imposed Its customs on the native people. If this was not poselble they sometirace simply elimmated them, They then brought in other already enslaved people for labor purposes in the exploitation of what they new viewed as their new land. While the ruling powers were doing their best to reorient these people to their customs, and in many instances forbidding them to caritinue their own cultural practices, lUiese groups attempted to continue thelr traditions in whatever ‘way dhey could. With each ethnic group earrying on thelr own practices in anew and incegrated land— the result was a tremendous blending of muste. religion, languages and social customs. Jn Brozil those events began Laking place ii 1500 shen the Portuguese explorer Pedro Alvares (Crbru landed in What is now ehe slate of Bahia. There he found ar. indigenous population of countless tribes of indians that had existe in this land fer thousands of wears, (History shiows two to three mullica inabliante, dating their migration towards these roglons back 40.000 years.) In a very short tune, shese people were enslaved and many ellaunated. The enslaved indians ald not provide the Portuguese With the labor force they needed (o explolt the wealth of mlneral and agricultural resourees of tus land. The next step-brought the Airican slaves, From the early 1600's to the mid-1800's, ap- roximately 3.5 ralllon Africans survived the crossing to Braail. (This ts fve ta six stnes moore thar ‘were broraght to North America during this period of siavery.| Hence the merging of various ifbes of native Indians AVrioans—also of varied zegons and tribes, though moslly irom the northwestern Parts of Africa—ane he Portuguese, began. Brutiice music evolved {rom these three cultures, Indian, African and Portuguese. but of the three the Indian Influence is the least pronoune=di end the African the most, The minor role Indian. music played in the evolution was due in part (0 the Jesuits who, upon thelr arrival in Brazil in the mid~ 1500's, scl wut to re-edueate these peopie: teaching them to practice European customs and teaching them the “benefits” of Christianity; thus suppressing their cultural and religious practices. This re- education was pert of the mission of the exslorers in the new world. Although the Indians had a long- standing folkore, they tended to lose their cultural traditions in their dlespora and in thetr integration with the whites. The Indian population in Brazil is today roughly ten percent of what it was then. For the African, music and drumming were ar integral part of daily life, Their religious rituals also involved ther: extensively. These people brought and maintained their customs im a form more imd'genoue to their cultural roots. This is duc to several reasons. First, the re-education the expiorers ‘wer attempting with the native Indians was net done with the Africans, They were enslaved and their education was not in the program. The only effori made was to not allow them to practice their folk Jor: customs, but they were not as closely observed ae the Indiane and thus were able (o continue same of their rituals, Second, throughout history, all European conquerors made an effort to keep their African slaves from practicing thelr customs (with the northern Protestant Europeans being the ‘most oppressive) The Fortuguese were no exception. but although they made efforts to suppress the _Feligious practices of the Africans. they were more tolerant of the African cultural practices than their northem European counterparts, This may in part be due to the fact that the Iberian Peninsula had interaction with the North Afvieans—mostly in the form of ware and enslavement between the Moors and the Christlans—that dates back to the twelfth century and were thus more secustomed to some integration. Furthermore, the Portuguese explorers—as well as the Spanish and French—were mostly male, versus the ralgration of entire families of Engish Protestant backgrounds to North America. ‘Tha thetr-tendency to integretc, cven if only for propagation, was greater than that of the northern Buugpeens. who, having emigrated with thelr entire families, generally disdained any type of Integra * mand went through great efforts to suppress the African culture. The southern European explorers d settlers, to some degree, had no cholee but to mix and the melting pot began. ‘The Fortuguese brought with them the European melodic and harmorie taditions. These “panish, French and some northern European: influences, The elements of both sacred anc sic were present in their mcledies, harmonies. oolvohony in the vocal musie. anc certain vetse-chorus and chant song structures. Cortala percussion instruments such as bass drums and snare drums had some of their origin in milltary marches. All of these became integral parts of teas Brazilian styles, The more folstorle elements inclucied the tambourine—an extremely popular net, ment in Portugal, the Basque regions of Spain and France. several other areas of northern Europe and regions of the middle-cast. This gave way to the Brazilian Pandetro, an instrument that hes been Gereloped to the point of true artistry by Brazilian percussionists. Stringed instruments brought by the Portuguese also nfluericed the development and use of the Cavaquinho—a small four-stringed guilar very common in samba music, as well as the six-string guitar in later styles, Last but certainly Pot least, the Portuguese brought their language. Drazilian Portuguese developed into a lyrical and Sensual version of the language that iends itsel! to a captivating and alluring vocal mualc style. Ita makes Braail unique as the only non-Spanish speaking country in Latin Ameriea. ‘The Alticans brougat with thew: predaminantiy vocal and riiythme elemen:s/es well 26 percus- sion Instruments that served as the origin for many that are an integral part of Braziian and Latin Americar muse today. Initially the Portuguese brought Africans from tnetr eolonies in Moramalque and Angola es well es Uic Congo. Later, as slave trading to the west increased. many were alse brought hom northwestern regions, Again, both sacred and secuilar influences are present in the Mfican vonvribu, tions, The all anid response vocal styles and drumming of the Yoruba people—from present-cay Nige ‘an regions—tlustrates the influence of religous music and dance and is tll very present ia many northern Brazilian musical stvles—particularly Cendomble musle. Duple meter with layering of triple meters ffom the African 6/8 adiions as well as the layering of varlous rythm over a astinato pulse gre some rhythm elements of African music that are very much the structural foundation of mary” Brazilian rhythms today. Many percussion Instruments of African origin such as various shakers made of weaved baskets, Insirdments made ‘om gourds such as shelerés, single healed, conga-like crums, some Gouble-heatled druzme end scraper-type Instruments gave way (o the development of Caxbd, afoae, Ghocalos, atabaquc. reco-reco, the berimbau and a wealth of other Instruments used in Brazilian styles. Afvican culture Was mest influen al In the development of the stvies of northern Braz. It has sitvived ‘more intact. and is more prevalent in this region than in any olier in the country. Jndlan influence, as mentioned before, was less apparent. Nonetheless, contributions in the 72a of flutes, certain vocal styles and certain percussion Instruments such as rattles and chakere made fom gourds and some weaved basket shiskers can be traced to Indian roots. Allhiough not as Prevalent in the Brazilian musical styles that are presented in this text, Indian musie fe quite present feaaany westera (Amezonian| regions of Brazil. as well as in many of the Andean regione such at those of Ecuador and Peru, Ail of the songstyles of Brazli—the many Sambas, Belaé, Frevo, Maracatu, Candomble, Maxixe, Chortnho, Cove and Afoxé—exhibit the aforementioned influences. This historicalsuforrmatton ie very general. It would be almost imposstbie to list all of the hundreds of musical styles of Brazil and sence of Bresilian Sereussion andé Dram Set Map of Braztl and Related Regions Bow To Lear nd Practice 2 ze How to Learn and Practice this Material How you should azproach learning this materiai depends largely on your technical prot these on Lie percussion instruments and drum eet, and on whether you have any prior exposure to Sown before you ean make thie materiel sound right. Yourjoaale hand and stick iechutques, ceordle ce whet technlue. reading counting in various time signatures, and more than anyéhing, your time, Without this you have nothing! woe ate primarily a dram set player, you should focus on learning the pereuseton instruments aS eaghims fist. As mentioned earlier, the more you can tneorporate and draw from tn: pereuscion Jf you already play on an intermediate to advanced level, you should get faralliar with this ng with cen more traditional perspective. Practice lt, memorize the patterns and practice Improvis- ing with lt. Get reeoraings—there ts suggested listening throughout the text--and learn hoo the Wess soe ons An the actual music. Your next order of priorlty showid be to find playing situations where you can apply thie materiel q aes ang more ofa beginmer or coring to this musle for the lrst tne, my advice is wo get a Seed teacher to gulee you. if you don't mow how this material ie supposed te se/nut you need and ‘el you if you're on the right track. It is also very fmportant that yin . aythms take place in actual Tecordings and live performance, seetinss fo Keep In mind: The muste itseif will almost always tell you whal can end + should be played, : will enter into the pieture, In an Improvisational idiom, between the musicians—will aleo dictace whal to play. | iutd may ever require the types of rhythms presented here, Again: leven neko Tecording provided. gna’se many recordings and ive performanies as you can, as well us fie) oe ore situation: in ing and experimentation will be your best leatn- lay this muste with people who really know tt, other factors—parteularly those of interp ay However, many situations will accommodate g i : : i 5 i i & z & 5 Po i i 5 3 : : i u & i 8 & : Z él @ a -§ Sy} 3 Tha Essence of Bracibas. af Part I Brazilian Hand Percussion ——— Rhythms Songstyles —— Techniques - —— Applications susan Ber-ussion Se SSS eee The Songstyles Brazl, tke all other countries in South America. the Caribbean and Africa, has a vast number and variety of songsiyies, rhythms and Instruments Indigenous to its folklore. In spite of the many razillan styles, most would agree that three styles are most known, and have hed the biggest infiu- ¢ 08 popular music throughout the world. ____ The first of these js the Samba and {ts derivative styles. Its derivations are mostly based on ‘either the actual musical form or appreach—such as in the samba cancad er samba marcha, or oft @ particular region or nelghbezheod that the particular styic emanated from—such ae the samba de morro [refers to samba from the hills surrounding Rio). The second of these 1s the Bossa Nove. ‘This rhythm and songstyle will be addressed In the second part of the book. The third le the Balaé and lis related styles from the northern regions of the country. The styles from the northern parts cf the country most exhibit the African heritage and Influence in Brazil's music. They are not necessarily specifically related to the Balaé rhythm, but fer our purposes will be presented under this general eategory of northern styles. Under these two broader toptes of Samba and Balad, we'll examine the rhythmis, songstyles, performing ensembles and related topics from which the musical examples in this book emanate. QARAAAIAIWIAACAEAaA@Ma. Brazil's many musical forms can further be categorized as follows, (You can keep the following in mind if you are Interested in further studies of tis culture and tts music.) The first category, secu lar/popular music, would inchude the many Samba styles. the Bossa Nova and the Belaé. Also in. luced would be the predecessors of these sivies, the Lunda. Maxixe, Jongo, Coco and the Batugue— the style from whieh the Batucada developed. The second category, sacred/religious styles, would Include the Candomble, the Afoxé and styles that are used for other Afro-Brazilian religions such 28 Cntimbs, Umbanda and Xang6. This category of sacred styles would also have a sub-category of styles rad fo" eectain rituals that may or may not be religious but have roots in ritual practices, dance EE ‘ittons nrecesstonal danees or call and response type singing in certain cultures. This group would Laclude the Capoeira style, the Maraeati, Frevo and various Congacias, The Batuque could aiso be placed in this category. All of these song forms have also given way (© many hybrid combinations: Fixing vzrious Braalllan styles as well as mixing Brazilian styles with the music of ether cultures Samba, Carnaval and the Escolas ‘A single technical definition could not accurately express what Samba truly is. Other than to say the obvious about it being the most popular Afro-Brazillan musical form in tts country, and prob- ably the most well-known throughout the world, everything else must be broken down into categorical and characteristic definitions—historical accounts, the musical and theoretical clements, the social aspects and finally the subjective definitions that don't always have to do with the actual musical form, To give an accurate historical account of the evehition of Samba is also difficult, as the actual origin is really unimown. There are quite a few theories though, and there arc several clements that ‘most seera to agree upon. The African roots of the Samba seem to be from the round or clrele dances trom Angola. These are known as Congadas in Brazil, The term and dance called Seria—from the Rinbunda tribe in Angola—is a dance featuring the Umbigada, Umbiga Is the Portuguese word for navel. The umbigada was part of Afriean dances like the Batuque in which one dancer would touch thelr navel against that of the other. This was sometimes the Invitation to dance from one row of \ dancers to the other. Many African dance styles that featured this. Other African and Atro-Brasilian “uyles—the Lunds’, Coco, Batuque and Jongo—slso played a role in the evolution of Samba as they = brought south to Rlo from the Balilan regions by slaves and former slaves emigrating from the Cee ee ee ee ee Poverty of the north to the more financially prospering capital in the late 1800's. Slavery was. at lea offically, abolished in Brazil im 1888. This accounted for large numbers of Airo-Brazlliane emigrating from the north, This can acccunt for one theory that Samba has tts roots in Bahia. While there are ‘many more details and mary variations to the general theories presented here, all agrec that the reall evolution and development of Samba took place in Rio, where tt came to have a characteristic very Alstinct from other Airc-Braailian songstyics. In the early 1800's a small Afcica came to exist In Rlo due te the influx of Aftican staves trom Baha and o:her northern regions, An area in Rio called Praca Onze (Plaza Eleven) was one of the inital and primary gathering places of these new emigres. The music played during these gatherings planted the seeds for the style that would later become the Samba. These initial gatherings had an inflwx of many musical siyles that had developed through-the integration. of the different African, European and Indian cultures. These gatherings and the music they generated began te spread throughout the Javelas (poor neighborhoods} of Fao and Samba began devcioping. The new immigrants fom the north continued thelr traditions of Orixa (African or Airo-Brazllan gods) worship, which almost always in- cluded rousie and dance, ard continued making music and dance for thelr dally consumption. The gatherings for the worship of these Ortzcs took place in the homes of old Bahlan matriarchs called tlas (aunts). These tiaa successfully did a great deal to keep thelr African oF Afro-Bragilian culture alive. They are honored today during Camaval by the Ala de Baianas in the Escola de Samba. Early musicians gathering in these fauelas began to shape the Carioca Samba (urban Samba from Ro) of today from the influences of the still devcioping forms of the duple mele marcha, mexixe, tango, habanera, polka,.and lund, as well as olher influences that resulted from ali the European and African integration of the previous three centuries, Important niusicians from this area melude the composer/arrangers Pixinguinha and Sinho, Joaé ce Balana, who ts ereciited with introducing the pandeiro as @ samba instrument, and Ernesto dos Santos, kriown as Donga. who co-camposed ‘he first official Samba. Peto Tetefone In 1917. The song wae released by a group called Banda Odeon and. spread rapidly due to the newest media of the time, redio. Samba made further developments in an area called Bsidele. These sambistas (sambe innova: tors), as they came to be known, began making clearer distinctions between Samba and Marea and Maxine. Clearer muscal cheracicrisilcs evolved and began to deiine the early Samba, Some ol these ‘were duple meter with a heavier accent on the second beat—the tuo of the bar—compound, layered and eyncopated rhytiims, and rhythmic structure in the percussion, call and response vocals in some forms and verse-chorus iyric construction, The most famous Samba figure from Estdelo was lamael Siva. Others were Nilton Bastes, Armando Marcal and Bide. In 1928 the first Escola de Samba was formed here, (Eocolas de samba arc descrfbed in detail on the next page.) It was ealled Detia Palar—iet me tall. It would take several chapters to describe the many other legendary composers, lyricists and Tauslelans who made thelr mark cn the development of Samba and Samba styles between the 1920’ and the 1950's, but with thle brief history you have the beginnings of Samba. There are two other ‘significant topics to Keep in mind. The must that had developed to ths point—the 1920's was referred to as Samba de Morre by (he mea and others whe found it to be a sireet, ot lowe! class music. In the 1930's a style ealled Samba Canoao emerged, This style, with its own set of legendary figures, emphasized the lyrics and harmony mere than the rhythm, It wes developed in middle-class neighborhoods and became the prevalent style from the thirlies to the fifties. Tals style was the prece- cessor of the Bossa Nova, that sprouted in the ilftles, but {a the fifties dhe Samba de Morro, whieh had continued to develop all the while, had a strong resurgence éue te the contInuing’establisiinient of the Escola de Samba as an institution for Carnaval, From its early days. Samba had always been closely ted to Carnaval, but it fast became a national institution ae well Carnaval was initially a Catholic holiday celebrated the week before Lent—a period of absti- nenee lasting four weeks, (biblically speaking, forty days and ‘orty nights). Carnavell was the last chance to go nuts before the Lenten period. Its roots can be traced baek to the Bacchanalla of Roman limes, Some form of Carnaval ts celebrated in most of Latin-America and the Caribbean as well as New Orleans’ Mardi Gras in the United States. Carnaval evolved in Brazil from the Portuguese celebration called Batruco. Although present day Carnaval is a time in which anything goes. the Portuguese i sua of the seventcenth to elghteenth century wert much further—to 2 point Ibet resembled @ a By the nineteenth century the celebration had evolved to ineorpersis ‘costumery, parading and fopular dances of the European aristocracy such as waltzes ‘and pols. Since much of these celebrations port or ond ehjoves exaimsively by dhe aristocracy, 2 movernent Degan {9 oe ‘streets by the poor ‘people that ineorporated. among other things, the muste that Woe developing in thelr same environment It Pere merging of these ovo cultures ihat evolved into what became tre Brazilian Carnaval. since 11s meeption in 1028, the Escola de Samba has been an integral part of Carnaval and brazilian Rakiere Literally ranslated {{ means school cf saruba, but these are Bo schools in the ener Ore sey began as musical chs or societies where musilans, Gareee ‘ang the inter~ Sagi femeral public got together co play music, organize Carnaya’ Parone ‘and partake In other eetes Bersnities, Although they presently maintain the.same purpose, Lossy ‘hele role in Carnaval— Teste activites clcty i guncralte ore that ofa cultural stitution, Between 10% ‘and 1985 the sarang Urrough neighbor oors by these eatly Bacolas— the Brows ‘people were referred to as aan ar ee arageé and even cuppresscd by the authorities m Keeping with 7 ‘ongoing suppres: ac ie rezitan galture. Nonetheless, the movement persisted and sy 100 the government coe ely recognized the Bscolns and their parades. Consequently the fnstaton of the Escola has not Guy grown to become a grand spectacle during Carnaval, Dur Patoiss 0 sometimes the center of only ty activities in the nelghiborhoode to which they belong. Thess a ‘presently some fifty to sixty sevigtered Becolas and countless omers thal exst purely for tne PeOee involved. The official Escoles WEpare all year for the.compeiition of the Carnaval paratie, The Escolas are judges! on their theme— prepare ope theme can be one of national celebration, protest of pollen creo ‘Many songs the Brredo. vi these various themes and each Escola ploks one that tt wil ue foe that year, The aoe rar algo judged on theit costumery and thelr music. An Escola parading ‘Carnaval can have aan a ened mentoers, Additionally there are the many rvusicel arrangers, SOs destgn- aan eet painters, erganizers and the lke, all contributang to his annua’ "we ‘nour parade that Fe oor ance with The costs for each Escola are sometimes prohibinve eiee are aoe tua of people ror poor azeas. The financing for much of this comes from ‘various philanihrople tndiidals and groups from all areas of Brazil's society there are very strict guidelines for the Esesla's Carnaval presentation. Each sefticr of the Escola iv called an ala-a wing, There are two mandatory wings the Ala Ae ‘alanas—in honor of the rat costed the Orla worshipping mentioned earlier, and Comissdo de Frente—the dignitaries or ae eae personalities of ae Escola, Bvervihing else ls erranged by the ‘Carnavalesco—the chereogra- pher of the Escola. Following ie @ list ofthe directors and sections of 2 typical Escola: 1. Camavalesco—Artistic Director Choreographer. 2. Ain de Balanae—Wing dedicated 10 the Bahian tias, 8, Passistas—Master dancers of the Samba for the Escola. 4, Porta-Bandelra—Flag-bearer of the Escola's flag. A woman. 5, Mestre-Sala—Masier of Ceremonies. man. 6. Carros Alegoricos—Decorated parade floats depicting the theme. 7. Destaques—Members wearing lavish costumes ring atop the floats. 8. Diretores de Harmonia—Directors, organizers. 9, Puxador--Lead singer. : sie Porin-Dandetra and! the Mestre-Sala are aiso the most portant passisias in the Escola, Te Song Finally there is the Mestre de Baterla—thc leader of the Baterta pivela. The typical Bateria can lnave from three to ilve-hucilred peresea Escolas but herc is a common instrumentation: the percussion seecion of tk tonists. Line-ups vary betwee = if Surdos: 20 to 45 Caixas: 40 to 50 Repiniques: 40 Pratos: 10 Tamborims: 70 Pandeiros: 20 - Ago-gos: 20°10 30 : Cuicas: 20 to 25 Chocalos: 50 Reco-recos: 25 ihe Mesive de Baterta leads the percussion section with a whitstle and the repnique. (Gee the Next chapter for an instrument list and descriptions) The parade begins with the Escola sin, This is ied by the puxador who will keep without making a mistake. Then the ent ging the enreco unaccompanied two or thre¢ times. these five- thousand voices in sync for close to two hours Powerful mo- to the Sambédromo—the Sambadreme—and the various alas s following, roughly, the first half of the Escola The The Baterla stops and plays before the judges while Baiaé and other Northern Styles Eee ns 19 Prcbaby the moat well-kndum style tom the north or Bras, the term north ing of ene aks, ates Irom regione wll arth of the sate & Bake irene simply speak oe rmoak rants Rio. YOu a including a vast tersoey ad the maine ee eglons is in fray wal fom the north, But when reerring tothe acrthore ties ee traditional Brazilian tell ie tg ll fhe musle trom north of Bahia that is being reicred ones Brazilian rousician, Mia nat this Isa style from the north they ere generelie Teferring to musie such ag Candomble Sian, Kanado or Coco—etyics that developed in the regions of Recree tee staleof Pernambuco, For our purposes we'll lake the more general @pproach and briefly describe some key areas that have Produced rhythm styles and artists worth noting, Q far Percussion ‘ualny about it when compared to Rio. Bana or Sa6 Fadl It peasy t hear this eae A the music of Faery aes Toninh, but musicians ftom this region are also well mown for incorporating te \aoeseo of ton got into Chet music to develop into der own very untae Bracitan sls, Along wi) oh ‘popular saat, musicians they began develoning these styles in Belo Horizonte, the capital of Minas. Moving north from Minas you enter the state of Baia, in 1640, Portugal's colons) government For Bren ee erptisheel in the northern port city that would become Salvador, the eapital of Balt, {Salvador went on to become the capital of Braz unti! 1763.) Over te next three cs mnarics. thousands eee eee brought to this arca {0 work (he cocoa and sugar plantations established by the. Portaguece Mott ofthe Africana brought were Yoruhan, This s the predominant Aso Bisziia0 cul- thu la tnte region end this region has the highest concentration of African descendan’s 0 ‘Brazil. This foglon moalitains the most African Ieritage of any area of Brafil Salvador. le cape satd to be the region melitalne TF gailian oltes. Candomble. Capocira and Afoxé are all very alive tn this region ard Mae Ai cae grated with many other styles of music from Bram the Caribbean and the Unlist eer fs form newer Afro-Brazilian styles. Carnaval parades and festivities in these feglons 95° thor: Sughly Alricanlzed, moally featuring (hese song forms. Although mos: Known [ these musical styles many famous Samba and Bossa Nova artists originally came from this region. One of the mast popular any eee rom this region is Dorval Caymin! wo based many of hs plors on the follbere Tegimal styles of Bahie. In addition o these folidorie styles, ‘this region gave birth—actually 8 rebirth— cane Bales and les mary derivations. The tragitional, felKioric Dalaé was the musle that ‘accompanied an Aftican circle dance, Dut In the mid-fortles, an accor ‘dionist named Lulz Gonzaga. (originally from Ae eae pcrramibuco), recorded a song called Balaé that he had co-composed with Humber 9 ‘Texeira. Anew dance and music al style emerged and became extremely popular almost immediate Gonzaga is known as the king of Bais6. He also popularized othe: r regional styles like the Xaxado, Xote eee or historic mausieal figure from these parts is Jackson de Pandeiro, Imown for ris development of the Caco and the Embolada. Moving even further notth ts the area of Recife m the state of Pernambuco. This "3800 also, steeped i the Afican tradition and song forms. artother style called Freve was developed here and SE ane lc etyle features extremely fast tempos and much instramental improvisation, Me ‘fom thie region 's the Maracate, an Afro-Brazilian processional dance derived for) te ‘Congadas also Fopular Gusing Camaval in Recife, There is also Indian tradition that survives in $e ‘rogion. The Pepetiinho greups are dedicated to the depletion ef Brazi’s nalive Indiono during (Me perlods of Porta quese colonization, They also participate in the Carnaval paracies of these reg:ons wearing Indian aeequmes and performing music that is derived from the Indien heritage of these regions. ‘The musica! styles from the northern regions of Brazil have not enjoyed the world. wide reregi: tion thet the Samba and Bossa have, but they have had the strongest influence on tHe develop mrt of dior arn soles and have also indluenced the music of Caribbean and South Arierican styles tn this General area, There le a bottomless pit of rhythme and songstytes 10 explore from ¢his ares. Now onwerd with the musical examples, ® anaaaaa®d ———S——— The Bercuss'n I The Percussion Instruments Surdo 9 Types) Bass Drum wsed for Samba fe a 4 ‘7 Surde Marcacéo Lowest largest surde. Also called the Surdo Marcana. Measures approximately 20'x 22" or 22" x94" i + Burdo Resposta _Midde-pitched, mlddlestzed Suis, Also cated the Contra: | Suado. Measures approximately 15" 19%or 1o"e ig * Surdo Cortador Highest puched ana ematiest sired Surdo, Measures approximately 12" 13" or 13" 14% Zobumba, Bass Drum used for Batad and other northern styles Age-go Ago-go Bells. Trianguio + tangle, Catreta Wood Block or Tempte Block, Checalo, Meial canister shakers. Ganza, Weaved basket chake;s, Rie ose aS, * Cabase, Gourd shaped with @ handie and beads wrapped around t analy Revo-reco Meta! seratcher. Tamborim, ‘Smal! tambourtne-shaped instrument without, Jingles played wetth a multipronged stick. Pandeiro Braztiian tamboustne. Aptto Samba whistie. al Cutea Prletion drum. Aiso called a ton's roar. et RepiniquoRepique__ small high pitched double headed drum used to play solo cue the Bsoola de Samba. Atabaque (3 Types) __ Conga type hand drums sed tr Canombte and stmtiar Ajroe Brazittan styles. 4. Rum Largest of ihe Atabague, 2. Rumpi Middie-steed dram. . 31 Smallest of the Atabaque, Caxix, Sine weaved basket shakers orginally used with the er Bertetbaw in Capoeira muste, i Berimbau Pou-shaped instrument originally used to accompany Capeatra dancing. Played with a small stick earn anda cotr or metal washer Catea Share Drum. ——— Pratos, Cymbals, et lian Percussion Tips for Getting the Right Sound and Feel on the f Percussion Instruments > ea may have lo acquatnt yourselé with eome concepts thal may be unfamaliar to you in order } to get the right sound. Some are of a echnical nature, others are more interpretive. When you strike a drum, or any pari of a drum set or tare considerations that wil! affect the type ef sound! Playing withthe tip, the shoulder or the butt end. The second is what type of stoke sor cee Third oeanmstrole: Open stroke, dead sticking stroke, aceented, unacecnted. loud, soft ahead Facts hat Part of the eurface you strike, Virtually any part of the instrument cam be placed eck percussion instrument, you have at least ‘you'll get. One is what part of the stick you are she aame myriad f sounds are available on instruments that you play with your bare hand, ay aes o Your Hens. What part of the hand! strikes the surtace and whet pant of te setace wee Peay ai ereate diferent ssupds, Its necessary to develop control of al the various somade eae ta ‘ake the patterns you play fee! right and to have a broed varity of sounds at your elspa Jb terms of musizal concepis, the way yor but there arc some general things common to tr region. Styles from the rortheas: share certain be more specific detail on each style in its respe ‘Keep in mind, anaceearaadieanued 11 feel end play each particular etyle will be different, ‘any Brazilian styles—or at least to styles of a given characteristics, as do various Sambe styles. There will jective chapter but here are some general {cel factors 10 FT to tte last note ofthe ber, and the beat, whether in e time fel, fl, or in parts of eolo | Bltases. This gives a feeling of forward motion to the groov . rather than playing the dewnbeats. which ive a feeling of catlence to the time, Here are two example Leeaqaanataca ‘Tips For Gething The Right Sound Aina rages tates the previous concepts in two very common rhythinle phrases used in many Brauilian styles If You learn to stick the following phrase correctly, essenee of the Samba rhythm. The key is to slur the thre the time, ) you will be very close to capturing the ¢ right hand strokes and pull back a little on ARR LARALA'AR RL ARR R ‘Peer common clement in all Sambas is the short, unaceented note on the downbeut and the Jonger, heavier note on the upbeat of cach bar. tips For Getting The Right Sound Ana sr aie, Tates the previous concepts in two very common rhythimle phrases used in many Brazilian styles: Sees ofthe Samba rkm, The ey io sr the tree ght he ooo es on eum, Another common eestent inal Sanat ste short, ncecnted note on th downbeut en the longer eater not on Lie pete aeh ae Here are evo rhythmic inflections coormon to many styles from the northeastern regions. Seige tte tc dagort All of these rhythmic elements are (ery general. but they are integral components in getting the Hight sound and feel. Listen for them Jn the music you hear in this idiom. Praetice playing time forts and improvising around each of these The surdo is a wood or metal barrel-shaped drum with heads on both sides. The heads can be calf-sitin of plastic. It ts played with a mallet in one hand and the fingers and palm of the other hand. ‘The ma‘‘et 1s mace of either felt or natural animal hide and possibiy some filler material covering a ywooder. beater. While one hand strikes the drum with the mallet, the other mutes and/or plays some supportive or cecorative rhythms around the main pulse. Surdos are most commonly end traditionally used in Bscolas de Sambe where three types—and many of cach type— are used. An Escola typically haa twenty-five to thirty-five surdos in its Bateria. Pictured above are various sizes and mallets. There are many actual sizes of surdos, but they all fall under three basic categories: 1. Surde Marcané or Surdo Marcagdo, This Is the largest and Jowest pitched of the three surdas, I¢ is responsible for playing the stronger (and lower pitched) upbeat of the Samba, It is the predominant surdo responsible for carrying the bess or foundation rhythm, These crums measure approximately 20° x 22" or 22" x 24, Surdo Resposta or Contra-surdo. This is the middle size and middle pitched rum of the three, 1( plays the lighter Cownbeals of Lhe Samba rhytlun, This drum would only be used sf (he large drum—the marcané—is used, These drums measure approximately 15° x 16" or 16" x 18" RADTTATCATTTTTAG PERRET ERTATTEAATATAC ATTA ATETE [eee 8, Surdo-Cortador. This Is the smallest size and highest pitched drum. Cortader mieanis culling, This io what Us druin's part does. The syncopations and vartations Ens Samba are played on this drum, It cuts between the more atable ostinato suythms of the other two drums. it is also moaliy usec in large ensembles. ‘These drums measure approximately 12" x 19° or 13° x 14°, tice Surdes are ucually used in large ensembles. In small groups, all of tte rhytinms are lay spent the surdo ploys the bass rhythm. 1 provides the foundalion for the entire Eecola_and the entire Samba. There are four basic strokes tsed to play the surde 1. The left hand strikes the surdo. Ths stroke can mute the head or play an open tone—ffigure 1) 2. The rlakt hand strtkes the surdo with the mallet witn ne muting feom the left hand. Tals would be an open tone —fflgure 2), 5: The right hand strikes the surdo with the left hand muting the head. This would be a closed tone—iftgure 3). 4.The right hand sirties the rim of the drum with the shaft of the stick. Depending on where you are ta the pattern, your teft hand may or may) not be muting the head curing this etrake—{figure 4). ‘The following sections show surdo rhythms for specific

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