Th;eEssence

oJBrazilian Percrrcsion

wtdDntm Set

with. Rhythm Sectlon Parts

RhythmsSongrtylesTechnlquesAppltcatlons

ByEd 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.3dso taught at Drummers Collecuve ln New York Cfty and appeared as a guest cducator at nurerouaother sctrools. In addltlon to hls role as an educator, Ed pursues an acuve ftcc-lance carccr Frffimlngwlth maJor arusta throug[rout the world. He has performed wlth Ray Barrctto, Randy Brcctcr, CrryBurlon, 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, Vlcnrth Sucks, KAT Inc., Korg Inc., Opcode Systems, Fbhman txum Trtggers and Rcmo Productr, Edhas 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*rrcomposlUonE, and do€E programming and productlon work for varlous aruets and rtudloa. Hc L de arnldl clhlclan/consultant and heads the electronlc percusslon and programmfng courser at BcrklecCouege.

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-CubenPercusslon 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 somctlmeseasy to lose slgbt of what a prlvtlege ft ls to be able to play and teach muslc as my ltvelthood. Whlle apart of m€ belleves that becomhg a mualclan ta not a matter of cholce but a matter of tnevftabtllty. ltts 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, youare bound ln various ways to other tndMduals ln order to er<lst wlth lt, You need muslctans to playwlth, an audtence to play for, p€ople to record you, and most [nportantly, teachers to learn ftom.Whtle thls learnlng process ls ltfelong and what a teacher ls takes on many dlfrerent forms as ttmego€s on, one of your prtmary and most lrnportant relauonsl,[pB ls wnh your teachers. A great teachcrcan make all the dlfrerence behpeen havlng a healthy, s€cure vlslon of yourself ln the muslc wodd, orfeeltng ltke you Just can't crawl out fiom under the rock.

wtth these brtef thoughts |Ir mtnd I would most gratefrrlly llke to dedlcate thls book to EdValencia and John Rae. Ttrey are the t5rye of teacher I am referrtng to. My grautude dso goes out to allthe 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 LlrydMccauslln at REMO for provtdlng the surdos. Many thanks to Tony, Mlke, and the guys at O, DlBellaMuslc for all the help wlth the lnstruments and for belng a great muslc store. Thank8 to CarlosFrranzetu, XIp Reed and Mark Iamparlello for thelr help wlth the rhythm secuon o.ampl€s. At BerklecCollege, thanks to Dean Anderson, Larry Monroe and Dr. Warrlck Carter for thelr support and also toTony 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, mydeepest tlanks to my wlfe, Robln, for the long hours of edfung tle book and for her endless support ofthts lnevltab ltv of mlne.

Ifu :Essence of tsruitin fuc*ssbn eil lDrut Set

Table of Corrtents

About tbe AutborAcknoutle dgtnent s and, De d.ic atlonAbout tltts Pre s entationBackground Informatlon

Deuelopments in Brazil ... . . .. ... , , ..9Map of Brazil and Related Regions .,..,...12

IIow to learn and Prac-tlce tb/"s. trIatertal

Part IBrazlllan If and, Percus sionThe Sozgsryles

Samba, Camaual and the Bcol6.. ......,.16Baiad and otber Nortbem Styles ...19

47I

r5r6

The Percussion Instru,ments 2ITips for Getting tbe Rigbt Sound and Feel .....22Surdo ....24Samba Patternsfor Surdo ..,.....%Baiao Pattemsfor tbe Surdo or Zabumba ....30Ago-go Bells .,32Trtangle ..,....34Caixeta ........36Chocalo and Ganza ,,.37Afox6, Xequer6, and Cabasa ,..,35Reco-Reco.... ..,,,...41Hl.

Tambortrn. .., ........42Pandeiro ,,..,,45Apito .....51Cuica ..,.52Atabaque, Congas and other Hand Dru.ms ...54Caixa ..,.fiPratos ....ffiRQinique.. ...61Caxixi ...62Berimbau,,.. ........63

The Rbytltm SectlonIYtbat tbe Bass Player Does ...,,.,65Comping Pa.ttems on tbe Piano and Guitar. ......,.67

T3

65

Summa.ry 72

Tfu lEssena of $razi[ian lPeratssinn an{ Drutn S et

Part IIBraztl:ian llntm Set

Ttpsfor Getting the Right Sound and Feel .....74

Bo.ssa NoaaIntrod,uction ..,, ,,..76Bossa Noua in 4/4 . ...,. 77

Bossa Noua in 5/4 ......81Bossa Noua in 6/4 . . . ...83Bossa Noua in 7/4 ......84Significant Artists and Suggested Listening ...85

Introduction ........88Percussion Score ........89Basic Dntm Set Approacbes .....WSuggestions for Variations and Improuisation ......93Sticking Cornbinations ,.....96Samba witb Brusbes ...99Bru,sb-Stick Tecbnique ....102Batucada ...1O4

samba cruzado 107

Samba Marcha .110Sarnba 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 125Introduction ...,.. 125Percussion Score ......125Basic Drum Set Approacbes ...126Significant Artists and Suggested Listening .135

Maracafit,MarcbaFreaoCatareteAfoxd 14r

r42

73

76

Samba, 88

136rc8r39140

Glossaty

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 fromgenerauon to generauon througlr an oral tradtuqr. It ls not muslc that cvolvcd from, or rar taulhtthrouglt. formal educaflon. Thls rs the study of folklore. You are, ln esscnce, lcarnlng a laneua6Fthelanguage 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 andgo on, Ttre study of t}|ts materlal ls the same. You wlll practtce bastc technlques and rh5rthmr, Theseare the components. You'll then pracuce putthg them together to play spcclic songstJicr ard tolDprovlse ln ttds tdlom. In the serlous study of a language, your goal ts to spcak, underetrnd and beunderstood-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 toplay a parucular Samba on Bata6 beat, but to lcarn how to play Samba and Bata6, dont vlth thc otherstlde8 presented. There ls a blg dlfierence.

Part I deals er(clustvely wlth the trrcrcusslon lnstruments. There ls an tndMdual rcctton for eachhstrument that tncludes a descrtptlon of thc lnstrument and lts tradltlonal usc., the tcchnlquc! ofplayfng lt and varlous rhythmlc patterns for tlrc md€ common styles. Therc tnclude verlorr! etjdcr ofSamba, Bala6, Choro, ftevo, Maracatu, Afold and others. Appllcaflons of thclc krrEumcntr.ndrhythms 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*kgnoundhformauon precedlng the muslcal er<amples and e,(ercises, Before the drum sct mnplc. d cach .tyle,there lg a score of the baslc percusslon sectton and each lnstrumenfs respccttw rhythmr. Bcfac plsylngand as you practlce the drum set parts, jrou ehould refer to thes*and back to Part l--undl you knont atleast the ba,Elc rhythmE of each percusslon part, IGcp Bt mlnd that the drum cet *as not atg|jnsllyhcluded tlr thls muslc. To capture the essence d these styles tn your sct playtng yur murt &av ftornwhat the percusslon pl,ays. The more you can do thiB, the more badlttonal pu wtll rourd,

There are short rhythm secaon e).amptcr flcluded for you to scc what the other lnrtrumcntsplay ln these styles. Nouce how the rhytlms of these lnstruments relatc to the rh5rthme on thepercusslon and drum s€t. You can pracUce wtth these examples by playlng them lnto a rcqucncerand 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 rndyou can practlce wlth the tape.

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

The patterno Included here are not mcrely d<erclses. The approach of thrs book l. for llou tolearn the techntques of the percusslon and drum set througb learn|Ilg the muslcal ct5tlcr; thur redlylearntlg thelr role tn this mustc. Therefore only materlal that can be, and actudly ls pleyrd ln th6estyle8 ls pres€nted. Whtle thls compllatlon of matcdal fs by no means cxhau.Uvr, lt t. a rr!.onlblythofough pre8€ntauon of the role of these lnrtrumcnts ln tlds genre, You should cornblnc tl||r mrterlalwntr llstenlng to and studylng as many recordlngr and ltve performanccs as poorlble. Errcn tr y,ur haveno tntctrUon of actuaUy performrng thls muslc, what you can gatn by e.:posurc to and a$fm atlqr of ttls of tremendous value, espectally to the drummcr/percusstonlst.

B€fore delvlng tnto the muslcal e)(ample!, here ls a very brlef hFtory of the dertloprncnt of thtsmuelc 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 IriaUea tlat f h6a been e).posed to muslc from most of LaUn Amertca and much of Europc' On the

streets I also heard dtfferent forms of LaUn music, but none whlch I could ldenury tlr any gpednc way.

At that urnFthe late slxttes to mtd-sevenues- San Franclsco had many muslclans that were lnvolvrdwtth lntegfaung Lattn styles wtth rock and funk styles. (Groups llke Santana, MaIo and Azteca clme to

m.111al.) Trus movement seemed much like the one that had taken place between .Iazz and Lath tn thern'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 lnmy 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-unlessyou 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&le; 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 ltkeBossa 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 fromthi 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 tobe shown more of these groorrcs and tt hasn't stopped to thts day. Whtle at that t|tne most of thelcrhythms were merely htp-gooves on the drum set, tt wasn't long before I got completely tnmcrlcd tnthi dtfierent styles and peicusslon lnstruments. My ffrst muslcal tour to Braz waE ln 1982, I was toplay 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

Amerlcans and ntany Amerrcan -mustctans perceirrc everythlng south of the Tenan border to be Justplaln 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 lnthetr 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 Europcantradlgons of whatever power domlnatea thai parflcular reglon between the ffteenth and elghtccnttlceriturles, 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..ncountrlea:

. Argentlnn:

. Unrgluay:

. Columbia:

. Venezuele:

. Eguador:

. Chlle:

. Pent:

. Andean Styles

. Medco:

. Rretto Rlco:

. Domlntcan Rcpubllc:

. tHrldedr

. Ilaltl:

. rfamalca:

. Cuba:

Twtgo, IiIIong* Zantha, ChocarcroCantdplntlp,, ZambaCurnDla, fumbu.co,Ioto1n, VclsePatIIIo, TaqucrorlCucgGuabto, Yats Pewanrp' La,MorlnsvBagrlo'lc'. &rna uallto, VrdalaMtlrba, Franwherq lfrattach;|' firJnn ednh IttLtandtorrtw oJ Danzotu .toropo fdlernErlrmlp..PbnaMenngrra&lrygrrn., $oco,

Mercngw, Jorm of Frenoh VarlatbnR.qgotSorr' 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 drhythms and percusslon lnstruments there are to €rplore. Thls should be rmportatrt to

',ou f(r tro

reaaona. Flrst, as a drummer/percusslontst, learntng the mustcal styles of thcrc meny culturcr w lgeatly e.:<pand your rh5rthmtc vocabulary and pur playlng no matter how you chooac to rdQt dapply them. Second, as a muslctan you have the opportunlty to reach and hlluence lirllc numb.r. dpeople. You can eastly help educate people and rprcad the beauty of t}lesc muslc!.

Deuelopmantt in Brazll

. Stnc€ the beghrng of tlme cultures harc mcrged and formed new, or at thc nEry lca$, lntcarabdfolklore, Unfortunately much of thfs merg!r4;*a!Ir't a wfltftd, cooperattve efict bctstctr cultur,G.. It r|rgenerally 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, (rhas 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 byEuropean 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 DuElethrouglrout 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 theysomeumes slmply ellmlnated them, Ttrey then brougtrt ln other already enslaved people for laborpurposes ln the eJploltaflon of what th€y now vtewed as thelr new liand. Whfle the rullng porvers weredotng thetr best to reorlent these people to thelr customs, and |Ir many hstances forblddlr4l OreE toconunue thetr own cultural pracuces, these groups attempt€d to contlnue thelr tradtuons ln whatcvtrway 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 AharesCabrat landed tn what ls now the state of Bahla. There he found an hdlgenous populauon of counuesstrlbes of Indlans that had erdsted tn thts land for thousands of years, (Htstory shows two to threernrlllon lnhabttants, datln€l thelr mUFaUon towards these regons back 4o,(Xn yeats,) In a rt€ry shdtUme, these people were enslaned and rnany eltmlnated. The enslarrcd Indians dld not Provlde thePortugues€ wfth the labor force they needed to eJelolt the wealth of m|neral and agrlcultural reEour@sof 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 thanwere brougtrt to North Amerlca durlng thts perlod of slavery.) Hence the merglng of varlous trlbes ofnauve Indlans, Aftlcan*also of va!'led reglons and tribes, thouglr mosfly ftom the northwestern pattsof Afrlca---and the Portu€iuese, began.

Braz tan mustc evolved from these three cultures, Indtan, Afrtcan and Portugpreee, but of thethree the [rdian lnlluence ts the leant prqrounced and t]re Afrtcan the most. The mlnor rolc Indlanmusfc 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 teachtttgthem 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 ltrtegrauonwlth 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 rltualrako fil/olved them eldensfi/ely. These people brought and malntaarcd thelr customs |jr a form moretndgenous to thelr cultural roots, Thts is due to several reasons. nrst, the re-educauon thc e,q)ltrcf,swere attempttng wtth the nauve Indlans v/as not done wtth the Afrlcans. They were enslaved and thelreducatton was not ll1 tJ:e program. The only effort rnade was to not allow them to practlce thelr folk-lorlc customs, but they were not a9 closely observed as the Indians and thus were able to conttnuesome of thetr rttuals. Second, throughout hlstory, all Europeafl conquerors made an efrort to ke€pthetr Afttcan elaves from pracflchg thea customa (wlth the northern Protestant Europeans behg themost oppresslvel. The Portuguese were no e:rceptlon. but althouglr they made efrorts to suppress thereltgtous practlces of the Afrlcans, they were more tolerant of the Afrlcan cultural practlces than thelrnorthern European clunterparts. Thls may tn part be due to the fact that the Iberlan Penfnsula hadtnteracuon wtth the North Afttcans-mostly ln the form of wars and ensliavement b€tween the Moorgand the Chrlstlans-that dates back to th€ twelfth century and were thus more accustomcd to somclntegrauon. Furthermore, th€ Portuguese exlrlorers----as well as the Spanlsh and Flenclr-wcre moetlymale, 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 northernEuropeans, 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 oqrlorersand 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. Thescfncluded Spanlsh, Frenctr and some northem European lnfluences. Ttre elements of both sacred ands€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! endsnare drums had some of thelr orlgln ln m itary marches. All of these became lntegral partr of manyBrazlltanl 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 andregons of tlre mtddle-east, Thls gave way to the Braz lan Pandelro, an lnstrument that ha! b.cndeveloped to the potnt of true arustry by Braz lan pcrcusslonlsts. Strlnged hstrumcnt! brought Wthe 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 crtalnlynot least, the Portuguese brought thelr language, Braztllan Portuguese devclopcd lnto a lydcsl andsensual verslon of the language that lends ltself to a captlvathg and allurtng vocal muslc stJdc. It abomakes 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 .ndAngola as well as the Congo. Later, as slave tradlng to the west hcreased, many rere aho brot{ht frornnorthwestern 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 mlnynorthem Brazlllan musical styles-partlcularly Candomble muslc. Duple meter wtth lajrcrhg of trlplcmeters 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 lrenyBraz 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,ldmore 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 tlrcarea 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 arpre\Elent |Il the Braz lan mustcal styles that af,e presented tn thls text, Indlan mu.lc ls qultc prc.cntln many westem (Amazontan) regtons of Braztl, ac well as tn many of the Andean rcgonr cuch etthose of Ecuador and Peru,

All of these cultural elements combhed to form the basls of the muslcal styles whlch wlll bcpresented 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,ucnceand tntegratton lnto Amerlcan styles of Jazz, funk, R & B and other popuLar muslc ls so grcat that lt lsalmost essentlal that all muslctans become famlllar wlth them. It can safely bc sald that fn the preurtday, Braztl---along wlth cuba and Amerlcan popuLar mustc-has had the greatest tnflucnce cr poputarmuslc throughout the world. Brazll and Cuba---along wtth Afrtcan muslc-havc dso had thc grcatc.tlnfluence 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<hfblt the aforemcnuoned lnfluences, Thts hlstorlcal hfonnatton Ir wrygeneral. It would be elmost lmposslble to llEt all of the hundreds of muslcal styles of Brazll andpresent thelr preclse orlglros and development, ar many of them are even unknwn. To prclcnt thacthat are known would requlre a multl-volume work and a lfettrne of study. WhIe I encourage ],ou toresearch the dlfferent muslcal st5iles, as tt ls a tialctnathg study, the purposc of thlr prclcntltton b toleam the most popular and influenttal of the rhythms, songs$es, percusslon lnttrumcntr .rd bor toapply them to the drum s€t so, onn'ard.

ll

SraziIinn lPerausion on[ Dratn. S et

Map of Brazil oind Relo;ted Regiolts

t{ow to Lc*rn ^nthueficcllfrit

N.wf.t

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 tothes€ 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. yourtlme, Wthout tllls ]rou have nothtngl

If pu are prlmarlly a drum set player, ]ou ttrorld focus on learnlng thc Frclr!.lqt h.tnrttrartand rhythms ffrst. As menuoned earler, Ore more you can lncorporate and draw from the pcrcuraEland tradfudral rhythms, the more you wlll play ttrc rtyle wlth an authenuc sound, Wlrcn you're rturllyplryng, the chotce becomes 5ours, but havlng thL knowlcdge under your belt wlll cn$lc J'Du to plrythi8 way |f you vEnt c need to. If you are prfmarlty a pcrcusslonlsL thcn pu may alrcady ktot re aall of the matertal tn the frst parL You should r€\r!.nr and then work on thc drum ..t. trpu dct't hrebasfc drum set slilU8, you may ne€d to do some otlrcf, tccttnlcal studl€s Btncc lmc dthL nr.tcd.lrequlres 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 thlrmaterlal 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 thrlmaterlal works ln the actual muslc. Your next ord6 d prlorlty should be to frnd payfng .ltultldrtwhere 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 rgood teacher to gutde you. If you don t know hos thrr materral r supposcd to lound' 5rcu nccdaomeone to hear you play and tell you lf you're on thc rfght track. It ts also rcry tmportant thrt ]'oullsten to recordlngs of these styles, The recordlng provlded wfth thls book should bc !,our prltDarygulde for how thebe o<amples should Eound. Nqt llrtcn to how these rhythmo take Place tn ectudrecordhgs and llve performance.

A few thtngs to keep ln mfnd: T.l:e mualc lt.clf wlll almost alwayE tell you what can endshould 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 lntcrplrybetseen the mustclans--wlll also dlctate what to pLay. However, marry sltuauont w l accomt[odrtcand may even requlre the types of rhythms prescntcd here' Agatn, llsten to thc rcctrdhg prov,|dcdand as many recordhgs and llve performances as llru can, as well as flnd performsncc rltultlona lnwhtch 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 bralntwhenerrcr the sttuauon allows. When pracuclng tht! materlal thlnk mustc, not excrclrct. Whlt you'rcsE|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;nHc;ndPerurssion

- Rhythms

songstylesTechnlquesAppllcations

15

Erazi[ian lPerausi.on

The Songstyles

Brazll ltke all other countrles ln South Arnerlca, the Carlbbean and Afrlca, has a \Est numberand vadety of songstyles, rhythms and tr8truments lndlg€nous to lts folklore. In splte of thc marryBrazllan 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 onelther the actual muslcal form or approach-such as ln the samba canca6 or samba marcha' or ona parflcular reglon or netghborhood that the partlcular style emanated from-such as the sambadC 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 Bala6and lts related s$rles from the northern regons of the country, The etyles from the northcrn partrof the country most o(htbtt the Afrtcan herlta{ie and tnlluence tn Braz 's muslc. They arc notnecessartly speclflcally related to the Bafa6 rhythm, but for our purposes wlll be preE€nted underthls general iategory of northern sg es. Under these two broader toplcs of Samba and Bala6, wc'lloramrne ttre rhythnis, songstyles, performtng ensembles and related toplcs from whlch the mustcalo<amples ln thts book emanate.

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, wouldlnclude the Candomble, the Afo<6 and etyleo that are us€d for other Afro-Braztllan rellgfcts such aaCaumb6, 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 groupwould tnclude the Capoelra style, the Maracat{r, Frevo and vartous Congadas, Ttre Batuque could alsobe placed ln t}Lts eategory, All of these song forms have also glven way to many hybrld combtnauonsmfidng 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 tosay the obvtous about ft behg the most pqrular Afro-Braz tan muslcal form tn tts country, and prob-ably the rnost well-known througfrout the world, errcrythtng els€ must be brok€n dovm hto catcgorfceland characterlsttc deflntuonFhtstortcal accounts, the muslcal and theoreucal elements, thc soclalaspects and fnally the subJectlve defnlflons that don't alwaya harc to do wlth the actual muElcalform, To g\rc an accurate htstortcal account of the evoluuon of Samba ls also drmcdt, as thc actualorlgtn ts really unknown. There are gulte a few theortes thoug[, and there are several elements thatmost seem to agree upon. The Afrlcan roots of the Samba seem to be from the round or c{rcI€ dancegftom Angota. Ttrese are known as Congodos ln Braz . The term and dance called Sembc*om theKlmbundu trlb€ ln Angoh-fs a dance featurlng t!rc Umblgada. Umblga ls the Portuguesc word fornavel, Ttre umbtgada was part of Afttcarr dances llke the Batugue ln whtch one dancer would touchthetr navel agatnst that of the other. lhls was sometlmes the tnvltaUon to dance fron one row ddancers to the other. Many Afrtcan dance styl€s that featured thle, Other Afrlcan and A&o-Brazlllanstyle+-the Lund6, Coco, Batuque and .Iongo--€lso pla5red a role tn the evoluuon of Samba as thcywEre 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..tofftclally, abollshed tn Brazfl ln 1888. Thls accountcd for large numbers of Afto-Brazllan. emltlrunafrom the nortl. Thls can account for one theory that Samba has lts roots ln Bahra. Whlle therc arcmany more detalls and many variauons to the generd theortes presented here, dl agee that thc rcrlevolutron and development of Samba took pLace ln Rro, where lt came to ha\te a clnrectcrLtlc ttf,ydl8thct from other Afro-Brazllan songstyles.

In the early 19fl)'s a small Afrlca came to cxLt |tr Rlo due to the lnflux dAfrfcan rlsrtet fiGBahla and otlrer northern reglons. An area ln Rto callcd Pm{u OtrE (Plaza Elevcn) we! drc of thc tsrl0.land prtnary gatherhg places of these new errtgFes. Tlrc mustc pla5red durlng thc* gatherlng pLtttcdthe seeds for the style that would later become the Samba. These lnlttal gatherlngr hsd an tnllux ofmany mustcal styles that had dweloped through the [rtcgrauon of t]re dlfrercnt Aflcan, Europcen andIndtan 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 ncthconttrnued thetr tradlflons of Ort@ (Afrtcan or Afro-Brazlllan gods) ntorshfp, whlch almoct alwayr ln-cluded mustc and dance, and ccrttnued maldng muslc and dance for thelr dafly consumptlon. Thcgatherlngs 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. ftayare 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 Srmbaftom 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 Europcenand Afrtcan lntegrauon of the prevlous three centurles. Important muslclans ftom thlr area lncludcthe composer/arrangers PDdnguhha and Srnh6, .roa6 de Balana, who ls crcdltcd wlth lntroductng tfrcpandelro as a samba lnstrument, and Ernesto dor Santos, knoutn as Donga' who co'compoced theflrst ofrctal Samb a, PeIo Tewone b 1917. The song wa! released by a group called Banda O&qr andspread 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 endMardxe. Clearer muslcal charactertsttcs evolved and bcgan to deflne the early Samba. Some of thercwere 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 lomcforms and verse-chorus ljtrtc construcuon, T?re most famous Samba figure from Ertdclo war lrltrtclSlhE. 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 FabrJctme talk. It would take several chapters to descrtbc thc many other legendary oomposcru, lyrtcLtr trdmustctans 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 otlrgslgnmcant 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 legendrrytlgures, 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.dcontlnued to develop atl the whlle, had a strong reEurgcnce due to the conttnulng cltabllrhmcnt of, thcEsc'/la de fumbc aa an tlirsutuuon for carnaval. Flom lts early days, Samba had alwayr been clorclyfled 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 liltctrance to go nuts before the Lenten pertod. Its rootr can be traced back to the Bacchanalre of Rornrnthes. Some form of Carnaval ts celebrated tn most of Latln-America and the Carlbbcan ac t'ell ar ltlctOrleans'Mardi Gras tn the Unlted States. Carnaval evolved ln Braz from the Portuguclc cclebratloncalled 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 astre€t rlot. By the nfnete€nth cent rry ttre celebraflon had errolved to lncdPorate costum€ry, parad|I4 andpoputar danoes of the European artstocracy such as waltzes and polkas. Shce mudr of thesc cclcbratbnsvdre hosted and enJoyed oclustvely by the artstooracy, a movement began ln the streets by thc poor

people that lrrcorpoa-ted, a-*tg "ttre"

Utf"g", tlre nuslc that was developlng ln thelr same crrrfrdm€rrt. Itivas- tfte merglng of thes€ two cultures 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 andBraz l,an folklore. Ltierally translated lt means school of samba, but thes€ are not schoob ln thetradluonal 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 otherfesuve-acuvtuis, althiugtr-they presently malntatn- the same purpose, today thelr rolc_ln carnarta!-and 111 Braz tan soctety tn genLial-ts more that of a cultural hsfltuUon, Between 1928 and 1935 theparadtng through netgtrbortrooas by these early Escolas-the groups of people 1519 referrcd to as

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 govtrnTentofficlally recognlzed the Escolas and thetr parades. Consequently the tnsututlon of thc Escola has notonly grinrn to-b€come a grand spectacle durlng Carnaval, but EscoLas ate someflmes the ccntcr ofco;;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 Escolaspripare 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

Escolas are also Judged on thetr costumery and thelr muslc. An Escola paradhg tn Carnaval can harrc

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 thatthe Escola wlll compete wtth. The costs for each Escola are sometlmes prohlbluve slnce rnany arecomprleed of people from poor areas. The flnanclng for muctt of thls comes ftom vattous PhlanthroPlclndlvlduals and goups from all areas of Braz 's soclety'

There are very strtct guldeltnes for tlle Escola's Camavat presentauon. Eactr secuon of theEscola ts called an alo--a wtirg. There are two mandatory wlngs-the 4tr4 de B4ronds-|n honor of thedas who hosted the Ortxo worihlpplng menuoned earller, and Combsdo de Ften@-ttre dunltarles ortnportant 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.

18

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

ttusag*yfes

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

Sur&r: 30 to 45&trrat,[0 to 5O

R.eplntq'4,'s 40Pralor: lOTqnDr|t;a:70Paofrv:%)ASWE 20 to 30Ctricoac20to26Ch,Go.t,'fSOR'fo{T','s25

'T,1€ Meste de Bdtetb tf/,rits the perutsslon sfrjtlon wtth a wh/sit,e andtt@ @rtq/r, (Sct 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 dasand 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|lethe second half of the Eecola parades by. When the last ala has passcd thcy clorc the p.rde. Bythts t|tne the next Escola fs beglnnlng enter, Durtng the coursc of the peradc the Batcrlr pcrfcmsmany breaks for the notces to s|ng unaccompanrcd, as yrcll as performfng many lolol.Oc brcrb onthe 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. tnhct nuelc from the north. But when r€ferrlng to thc northern styles |tr a rnorc trrdluonrl Brrrllurway, tt ts actually Ore mustc from nor$ of Bahla that ts belng r€ferr€d to, When a BrazlLn mu.lclantells me that thls ts a style ftom the north thcy are generaly rderrtng to mudc luch ar Cartddrblc,Afo<6. Xa:<ado or Coco+tyles that developed h thc reglons of Recfe ln the ctatc of Fernambuco. Forour pur1xxes we'll take the more general approach and brtefly descrlbe some key areac thrt h.vtproduced rhythm styles and artlsts worth notlng.

Movlng dtrectly north from Rlo 5ou entcr thc state of Mtnas G€rarE, a liand known for lt *lalthof mlneral reaouroes. WhIe not havtng styler ae well known as Samba or Bo6ra l{ova, rneny tnnorrffrccompor€rs and hstrumentallsts fare from thls rcgon. M ton Nasctmento (born fn Rb but r.ltcd lnMhas Geratsl, Tonlnho Horta, and Wagner Trro are three of tlre most wcU kno*rr. Thc .odrl cu.tqnsof 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 dM|ltqr and Turlnho, but mustclans from tlds regldr arc also well laroum fc rrcorporaurg the r|fluenccs ofmany styles lrnto thetr mustc to develop tnto thef own wry untque Brazlllan sfles. Along wtth other popdarhadfan 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 gorcrnmentfor 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, thousandsof Afrlcana were brougfrt to thls area to work t]re cocoa and sugar plantatlons establlshed by tltePortuguese, Most of the Afrtcans brouglrt were Yoruban. Thls ls the predomlnant Afro-Braztllan cul-ture |r1 thts regon and thls re4on has the htg[rest concentratton of Afrlcan descendants tn Braz[. Tlxlsregon mahta|ns the most African herttage of any area of Brazll. Salvador, lts capltal, fs sald to b€ themost Afrtcan of all Braz fan crfles. Candomble, Capoelra and Afor€ are all rrcry altve ln thls regfon andhave been tntegrated wlth many other styles of muslc from Braz , the Carlbbean and the UnltedStates 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 popuLarsongu/rlters from thls regon ls Dorlval caymrnt who bas€d many of hts pleces on the folklore andregtonal 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 accompanledan Afrlcan clrde dance, but tn the mtd-forues, an accordlonlst named Lulz Gonzaga, (ortglnally fronthe state of Pernambuco), recorded a song called Bata6 that he had co-compos€d wlth HumbertoTeDletra. 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, Xoteand Cooo. Another hlstorlc muslcal figure ftom these parts ls Jackson do Pandelro, known for hlsdevelopment of the Coco and the Enbolada,

Movhg even further north ls the area of Recfe ln the state of Pernambuco. Tt[s regon ls alsosteeped tn tlre Afrlcan tradtuon and song forms. Another style called fteDo was derreloped here andliater ln Bahia. Thls stJde features o<tremely fast tempos and much hstrumental lmprovlEauon, Alsofrom thls regon is the Mcr@catu, an Afro-Braz tan processtonal dance derlved fron the colngodas al'jr)popular durfng Carnaval ln Recfe, Ttrere ls also Indlan tradldon that survtves |Ir tlds regon. ThcCdboctrn lo groups are dedtcated to the dqtcuon of Brazll's nauve lndlans durlng the p€rlod8 of Portu-guese colonlzaUon. They also paructpate tn the Carnaval parades of these regons wearlng Indlancostumes and performtng muslc that ls derlved from the Indtan herlta€ie of these regons.

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 dall Braztllan styles and hane also tnfluenced the mustc of carlbbean and South Amerlcan stJdcs rn thrsgeneral 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:

&lxetaClwcalaGenza

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.Wood Block or Temple Block.

Me tal cantster shakers.

W eau ed baslcet shakers.

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 edwtth a multl-prorqed stlck

Pandelro Braztltan tam}riurtnc.

Aplto Samba whlstle.

F-rlcttan drum. AIso mlled a lton's roar.Culco.

F;ephfiquclRepi4rra _Small h@h pttchd douhle headed drum usd b play solo ancthe Escola de Samba.

Ataho,qtuc (8 fipes) _Conga tgpe hend drums used tn Candomble anrd, slmllar AfrvBraztltan stgles.

I. Rum_Largest aJ the AtabaEte.

2. R;untgti _ Mtddle- slzed drum.

CoJtaso;

8. L&

Cc.rlxtSmallest oJ the Atabaque.

Smalt weaued basket shakers ortglnally used wlth theBertmbau tn Capetra muslc.

Bow-shaped tnstrument orlgtnallg used to accompnyCapoetra danctng. Plaged wtth a small stlclc, catctxl and acotn or metal washer.

Snare Drum.

Cgmbals.

Bel.[mbau,

Catxa

Pratos

2l

Erazi[ian gacussion

Tips for Getting the Right Sound and Feel on thePercussion Instnrments

you may have to acquaht yours€lf wtth some conc€pts that may be unfamlllar to ]tou tn ordcrto 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 lcastthree constdeia$ons that \r'tll affect tfrl type of sound pull get. One t3 what part of the suck you arcplayhg wtth-the up, the shoulder or the butt end. The secud ts what tJ/p€ of stroke ],ou usHllirpjtto'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

Just the usual-parts. try operrrnlnUng wlth thts. You may hear yourself playlr4i_sounds 1ou've never

iUy"a Uefo.". ihtU"g tite rrgSt sound-and feel tn these styles requfes the us€ of these varlou! stroke'tfrfis-parucufarfy 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 wlllbe-more speOnc aetal on each style tn fts respecttve chapter but here are some ge.neral fccl factds tok€€p rn mtnd.

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

1.

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

2.

22

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

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

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

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

l.

l.

2.

2.lt

All of thes€ rh5rthmtc elements are \rcry Seneral, but they are lnteglal clrnponcntr ln Sctttng thertght sound and feel. Llsten for them tn the murlc you hear tn thls ldlom, Pracuce playtn! tlmc fcclsand 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 becalf-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 tradlflonallyusei ln Escolas de Samba where three types-and many of each typF are us€d, An Escola tlDlcallyhas 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 threesurdos. It ls responslble for playtng the stronger {and lower prtched) upbeat of ttre Samba. Itts 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 pltcheddrum of the three. It ptays the llglrter downbeats of the Samba rhythm. Thls drumwould only be used lf the large drum-the marc€u16-ts used. These drums measureapprordmately 15" x 16" or 16" x 18".

24

SurJo

3. Su'.do.&rtador. Ttrls ls the smallest rtze and highest pttched drum. Cortadcmeans cutthg, Thls ls what Urls drum'. part do€s. The s]Dcopaflonr and varLatlonrof the Samba are played on thls drum. It cutr between the morc ltablc o.theto rhythm. dthe 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 rrcusually 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 olyone person ls playlng all the parts are usually playtd on one large surdo, more tlun qre drum can baused. 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 thcentlre Samba. There are four baslc strokes used to play the surdo:

l. The leJthand sfrlkes the surdo. Thls stroke xrn mute the head or playan 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 stlckDependtrg on where Aou are tn the pattern, Aaur leJt hand maA or nury notbe muttng the head durtng thls strokelfQure 4).

Wure 1 Fpure 2

F'IEre 3

The followtng sectlons show surdo rhythms for specfflc songstyles.

Fpule 4

25

tsrasitinn lPeratssion

Samba Patterns for Surdo

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

foundatlon rhythm looks hke thls:

The flrst note, the one, ls short and dead-muted. The second note, the two (s€€Jflgure 2 onprevlous page for hand postUon), ls long and accented. The feellng ls as ff the dovmbeat were on thcupUeat 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 andstrdg feel. Followlng lB the most cmunon varlauon of the baslc patt€f,n.

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, hlghSwdo Cortador plays the syncopauons and varlatlons, and the low, &rdos MarunA plays the up-beats-the trpos. Remember that beat two r3 the strong, accented beat. FoUowfng fB an cxamplc d thcway 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& sottgsfbqd tenw an U or tle lfiW?{)tsatlotts ol tl@ plager'

Surdo Resposta

Snrdo Cottador

r. ,- | l 1 , I l I

2 ,*i r I ri r I t u

26

$urdo Marcantfr

Ssih*tep fssur[o

Whcn only one surdo ls plaJrtng, or when or y one slze ls used tn cmcmblc, thrt plrF apla5rcrs play thc cntlre pattern. Follovrlng are .onc bastc surdo pattern fd thc rrnbl Thc t.f| llnel,r for thc hand hoHfng the Eallet-usua[y thc rtght hrind. T]rc bottom lrnc .hor. tbc lett hrrdfuncttorr. Note tllat when the left hand ,atc-had ?" fdls wtth a notc |tr thc top Inc, lt fr mu[nt thehcad whlle the mallet strlkes the drum. \lthen the left hand falls opporltc thc r{ht--plqtrl UyItsclf-lt trB most often pla$ne|Jruer or ghosted notcs between the matn noter of thc ..dr prttcrnplapd by thc rlglrt hand. When the left hand notc tB ln Irarenthesls lt lndtcrtc| both thc .tdtraposluon of the pattern and the muung of Urc head as the pattern conutrucr, Abo notc thc lor!, rndshort arttcuLatlon marktngs for the top llne.

2.

.'l r=i ':>l.

| | - ii" t r

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

3.

4.

6.

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 foundauonfor 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<amplea as

w€ll as commdcfal-recordlngE. n the Samba ts slow, the left hand ls used for addfflonal datnpcn ng ofstrort notes. Ttrts also creates other rhythmlc arttculaflone. If the pattern ls fast, the notcs ln parcnthc'sls, (e,G 3 & 4 on the prevlous pa{le), are pliayed by the left hand el4trtly beforc the dwnbcat. flrltbecomes more llke a two-handed pattern.

Follocdng are common llcke for beglnntngp, endhgs. breaks and \rarl,auons of the groorrc. It lsvery 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' whcnln 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 lnwtwo sounds on the rltn. One we'll call a closed rtm sound and one an open rtm sound. Clacd end op.nare determlned by tl:e muttrg done wtth the left hand. The most common pattem ha! thc rtm drylnaon the cnds.

Here ls a Rttythmlc Key for the follonfrg pattems:

RH-Rtm Stroke-closedRH-H e ad. S troke-c lo s e dRII-Head Stroke-openLH-Head Sfroke-closedLH-MutIngJor RH Stroke

l.

2.

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 thesurdo, the Zabumba l,s also pliaycd wtth a mallet and the bare hand. ThlE drum ls not a! o.nDmon asthe eurdo tradfionally used for samba, although tt ls qultc common tn sone styles ftom thc noth ofBahfa.

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

l. ' ' :> r ' -

'r'l lV r 'l 1V '

2.r':>"r)

Ir I 1V I ' I 1V J

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 lnthe nort set of oomples.

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

l.-o)' 2.

'r, | .l

v r r !r. | lv r

3

'r' | 1V r

1.

2.

3.

4.

5.

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 fourbeUs con;ecled together-. Ttrey are usually tuned ln thlrds, held tn one hand, and played wtth a sflckwtth 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-\

The flrst of these ne)<t two patterns ls common for Bala6. The gecond-lts reversFls also usedas both a pattem and a varlauon:

l.

2.

3.

32

t2.

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 rodto produce a chlck sound ltlgure Ir. The sound can bc urcd as rhythmlc flller playld tn bctccn thcsucked notes [flgwe 21. You can also hold the bells together wh e ],ou hlt thcn, gMqg Irou mutcdnotes lrlgure 3). Thes€ notes become part of the pattem ltself. Follorplng are romc eronflcr. Tr- tdafiarted "X" are ptoAed bg squeezng the bells togethsfor the 'chtck' sound, nE otlErs arc *ge4 ,nththe 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 thlthnare endless, Llsted h€re are only a few cornmon pattcrrr!, lmprovls€ to come up wlth ],our o*n patEnaand 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 sambaand 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).

Ftgure 21 F'tgure 1

Ftgure 3 Ftgure 4

34

ffieng{e

The rhythmlc pattern ls a combtnatton of the strlkhg of the trlar4le and thc muung donc rlththe 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 bctterln 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.

oo++oo++ oo++oo++

+++o***o +++o+++o

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

3.

1.

2.

1.

2.

35

$razi[ian geratssion

4.1.

Caixeta

A Ca|](eta ls a wood block or temple block. It l,s played wlth a suck or mallet. There ls nothhgcompllcated 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 patternscan be used for Samba or Bala6 at any tempo.

,nO , J-rl u ) J I J J I ,,b|l

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

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

5.2.

6.3.

7.

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 rntlyhandmarte, they come ln many dtfierent shapes and rlzcs as do the metal shakcrr. Thcy are uandlyill€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 dcSamba performrng fn Camayal lngure 1 slnws uarbus Ppas). They are held wfth qrc trerd, ln UE ccntcrWure 21, or wnh both hands at the ends (/?gure 3). It rccms obvlous that you play lt by rtEkfnS, butthere ls a certatr feel you must get out of the etghth notec. You must also be able to accctrt ar wGU tglrost some of the notes. There are also many trlckr pu can dwelop to get lntcrclung llckt wtth drc ortwo shakers slrnultaneously. Flrst try to play €ven elghth notes, then add the accqrt!. Try play'q thcdolrmbeats away from ]'ou and the ands towards jrou. At slower tempos use blgger moflon!, At hghtcrtempos, 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 €{|dto 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 dlfrercntshapes and s s due to tt behg a natural materlal. Certaln muslcal styles requlre speclf,c slzes andtyp€s of thes€ fnstruments. The shape of the gourd for the Braztllan Afox6 varles, but th€ more com-mon shape conststs of a round part of a gourd whlch forms the head, and a part that tap€rs down |rltoa 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 toneproduced by tdttfng the closed end wlth the heel of the hand. Most cabasas made today have woodenhandles wtth wood and metal heads and metal beads on the head {figure 21. These newer ones producea much dtfferent sound than those nrade of gourd. Though very dlfferent, they do harc a sound thathas 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{Etbastc 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€dEas 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).

38

Ftgure 3 FEure 4

f,fmd, Xcqttsl nil ganza.

Wtth the head of the cabasa sttting tn theartlculaflng even etglrth notes ftrst. Then practlcepressure wtll produce accents.

palm of your hand, turn the cabasa and practlcethe followlng patterns. A sharper turn and addl0onal

Another rcry dlfierent sound iB produccd by holdtng the head uprtglrt and rhahng thc cabaeaback and fcth (/tgure 5a). Thts produces sharpcr and shorter notes. Wnh tl s method, (holdlng ftecabasa ln the right hand), the left hand ts uscd to play rhythms and/or syncopate. U* thc palm endheel of the left hand. I play the cabasa trrto the palm of my left hand for forward4ownbcet---acccntsWure 6bl, and brlng the left hand around and strlke the cabasa wtth the heel of my hand ar lt lrmovtng back towards me for the upbeat accents lflgure 5c). A long tonc ts produced by rtnkrng thc topof the head-the beads--.and stmultaneously turnhg the rtght hand ln toward! you whtlc movln! thearm up and away from you and then back down, allo$rtng the beads to rotatc frecly [flgure 5d). Ttrlstakes 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. Ttythe downbeat accents playln€iforward and llrto your hand, and the upbeat accents back towardt l'ouand 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.

Here ls a four bar example combtnrtxg the examples above:

Experlment wtth the above combtnatlons and make up your own patterns. You don'thave to ltmtt yourself to cut ttme. Here ls an example ln seven folloured by one lrn flve. Varlousodd-tlme approaches are dlscussed later lrr the book.

3.t.

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 thctq slde 6 a metal tube wlth sprlneis €!.tended acr6. tt! lcngth (J?gure I ). Thcy ere mo.t qn8dy u.ad tlEscolas de Samba. It mostl5r resembles the efiect tllat lcratctrlng a wastrboard wurH ttaE, tt || paq,ld byslldlng 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 rnotes appcar, the scratdres should b€ longer. kactbe thc foflowlng pattems, frrt trylnXl to pby catd|t ntdghth not€s, then addlng the aocents.

Maracatu9

Bala6

Here are some varlailons:

l.

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

fl

Marcha

>>.>

>>>

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 playcdwlth a thtn wooden sdck or a three-pronged plasttc or rattan sttck, The flngers of thc hand holdtr4 thetambo['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 hcadwnh the atfck Wwe 21, adJustlng the open and close the notes wlth the fingers on the underelde of thehead. 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 arcuscd ln unlson to orcheEtrate rhythmtc passageE.

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

++ol. oo

'no J J J ')l "JrIlJ[

+++ o ++ + o o o

rEO ",fll J Jl | - )- Jr,bJ

il

42

2.

tmbarin

3. +o + + o

As an addluonal embelllstrment, the f,ngcrs may al.so play aju,er rhythm qr thc undcr.fdc dthe 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:

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

+ + +o + + + +

rEe "Jr)")llJ .l "Jr)il

+ o ++ + ++ +++ +

rEe ")J | "l Jl')IJ" \+ o ++ + o o ++ +h, lrE$ -r,r JJ ")l J J JJ")il

4.

5.

6.

4(t

:Brasilian lPeratssion

Ihe s€clnd vray to ptay the tamborltn lnvohrcs a ltttle more technlque. Tradluonally thfs ap'proactr is plapd *tU" i *,t1"--protrgd beater (shoron n exo@cs belou), altho-ugtrr lt

-can dso bc dorre

ttrt " tigii;

"u"k dependrni on dre sound deslred. T6e other hand rotates the tamborlm so the

beater str-tkes ln two dtfrerent-spots wues 3a through 3c). This gfves you accented and unacccntcd

notes to produce the samba paitern-ttittt"a Uao*. Fo11owlng le the most common rhythm pla!rcd wtth

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

"un ttrt rk of tht" stroke as behg playe-d by the left hand strlklng the suck (when lt rotates the

tamborm), 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!|dcrrblctechnlque to play. It has been doreloped and mastercd by vartous muslclans to thc polnt of trucarUsfy. T1re pandetro ls rrcry often a featured solo lnstrument ln E'ecolas de Sambe. a! sdl at lncontemporary groups where a percusstontst ls featurcd. Tfaduonal Carnaval solo. oftcn hcludctheatrtcal 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 thcname 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. |. thcweather 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 urcdto strtke the top of the head. Open and cloeed toner arc Soverned by etther the thumb c mddlc ftt1prof the hand holdrng the tambourtne. The thumb can mute and release ftom the top of the hd Wtttcf ). The mtddle ftnger can mute and release ftom the underslde of the head [flgure 2]. Whtch mctbodynu use depends on the type of goove you're playlng thc slze of the pandelro, and wtrat you'rc mctcomfortable 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 anopen 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 rotntesthe tambourtne slde to stde. Thls can be thought oJ as the tambourlne sffiklngtheJtngers Instead oJ theJtngers strlklng the tambourtne. In acfinl plaglng tt ls acomblnatton oJ the two mottons (flgure 2a|

3. Thumb stroke or heel oJ hand tn lower center oJ head (flgure 3).

4. Ftnger stroke-s ame as number two (flgure 4). *A number 4 strolee notnted wtth an arcentmeans the note ls a slap stroke.

\tgure 1 Wure 2

F-lgure 4

46

Ftgure 2a Flgwe 3

Nziro

Pracdce the followlng er<ercdses. In thclc tnltlal er.erclses the left hand only holdr thc prxhfro(assumlng you are rlght-handed, otherwlse rcarrrc). The bottom note only ljndfcater thc rhy'thmlclnllecflon you should make wlth the rlglrt hand. Focus on playlng wlth thc corrcct hand pdft|dr. trJ,our rlght hand. Accented, unaccented, and ghostcd notes play an essentlal p8rt ln thc !r@vr. Fa thebaslc Samba groove, Jrour most promlnent acccnt rlll be a sltgfrt accent or elap on thc forrth lrb&l-slon of cach beat.

2;; 2

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

.).)olo)

12 3412 34 12 3412 34

111

3.

+

a

12

o

>.-3412

o

3412>44

+

122.

47

tsrazilia.n Qeratssbn

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

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

1.

+o+o

.)-12 3412 34 ',| 2 341221

+o+o

.)-12 3412 34 12 341121

+ oo + + oo +

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

+o+o.).oao

12 341121 12 341111

2.

3.

i"z;; zz; ;zz l i zz l4.

5.

6.

48

tuilcho

The followlng pattern ls for a rhythm called Mardxe:

.>-.12 341 1 1

The followrng patterns are for a Marcha:

.)-141

o

- -1114

Thls pattern can be used for playlng Frevo:

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

41

l.

+

:>

114

o

1

2.

o>'-.)

1 141 14

l.1411

o+o

1 4 321 1

4 21 1

>..-4 21 1

+

+

12341

12 3 4

2.

o+o49

lBrazilian lP ercus s ion

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

iz

:>-.-

41212

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

Ftgure 1

Follourtng ls a common pattern for Samba.

+ oo

:> . )-;

3 412 3 411.

4123

o

123.7.==-.-.123412341212

;1

o

4

+

1

>>41

4.

5.3.

--aa2 3 41221 12 3---a-i

2 3 4112112 3

Ftgute 2

50

Here ls one for the Baia6:

f,pito

Apito

Aplto la the word for whtstle-ln thts cacc, the Braz lan Samba whlsue. It war tredtfdrdlycarv€d ftom wood. Todays whlsues are made of metals llke brass. The whlstle has holer qr ltr ddcswhldr are conered and uncovered wlth the flngers to produce dlfierent tones as you blou lnto tt. lheaplto ls used both to play rhythmrc pattems and to announce elther an enscmblc pa.rqge, e ncts€cflon, a beglnnfng, or the end of a plece. In an Escola de Samba, the Meste dc fute.tb wol.iln ENethese cues. To hlm the whtsfle, along wtth thc rcphlque (presented later |n the book), lr llkc theconductor's baton. The aplto ts capable of productng loud and soft, long and short, and opcn rtdclosed tones, All of them are used to add vartcty and color to the patterns playrd. Thc whlrUc c.n alsoplay 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-Brazlllanlnstruments. It was brought to Brazll by Afrtcan--arobably Bant(r---slaves but can be traced to othernortlrern regons of Afttca as well as the Ibertan pentnsula. It ls also called the lton's ,@r,frbtbn drumand less commonly, the pulta.In tts early hcarnauons lt was atso used by hunters lurlnSlltons wlththe 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 dampcloth. 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 2and 3). The pressure ts e:<erted close to the rod on the top stde of the head. Ttre Ogfrter you hold therod, and ttre more pressure you o<ert on the head, the htg[rer the pltctt. A looser grlp and lcas preasurcon the head produces lovrer tones, The pltch range of the culca can be as much aa two octaves. InBrazlltran mustc the tones produced tend to hltate the votce ln the form of grunts, groans, moans, andsqueaklng sounds. It can also provlde a rhythmtcosttnato. After becomlng integrated ln the Braelltanpercusslon arsenal, the culca was tradttlonally usedby the Escolas de Samba for Carnaval, but is cur-rently also used ln contemporary Juz, Lattn andfunk styles. When marchlng tn an Escola a strap lsused to hang the culca from the neck or shoulder.

Ftgure 7 Ftgure 2

52Ftgure 3

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

Here are some more s5rncopated patterns:

l.

4.3.

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

iE$'J )JffilljJIJ-ht

Here are some common ltcks:

1.

53

lEraai[inn gerausion

Atabaque, Congas and other Hand Dnrms

F.tgwe '.

Ato},cqltrc, t-P(. L4, Rumpt and Rum 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 bythe Afrtcan Yoruba tradltton. There are three Atabaque, the I'C' Rumpl arrd tJte Rum (figure I ). Thclrtradtuonal use was In rttual and religlous muslc; they were used to summon the Ort!4s-the gods ofthe candomble religton. some contemporar5r styles from the north also now tnclude them tn tfrelrmustc. 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 2Fcoigas 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, Brazlllaniftytft-" 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 stroket54res down to play flre hand drums: bcss tone. oPen tonea, closed. ar.i, Pallnn tor|flr,. aW (8 tAE att6ietu closed.-and mtrte4, and the rocklrg motlon betutetrln t E ,?4,el u.dJlttgeB qf tlE hilraExamples 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.

++

Rumpl

Ti

Ftgure l: Atabaque. L,-R: L6, Rumpt cnd Rum

o

+

64

Rum

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

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

F$ure 2Flgure 1

Eass Tottcs: Played wlth the heelof the hand on the center of thedrum lflgures 7 and2l.lt you'replaytng srttJng down and holdtrgthe drum wfth your legs, you c€rnplck lt up off the floor to get moresound {flgures 3 and 41.

FSwe 3

FQwe 4

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

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

FSwe 5

Ffiure 7 F\ure IFVurc 6

55

Erazi[inn lPerausion

Flgwe I Wure 1O

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 theLeJt Hand sequence. Ftgures 11 and 72 are the Rlght Hand se-quence.l

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

Ftgure 12

ff;u/,etl Attrlrc

Ftgure 11

Ctosed. Stcpe Open Stqps

F$we 18 Ftgure 15 Flgure 17

56

Ftgure 14 Ftgure 16 F'lgure 18

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 bongorhythm wtth a Brazlltan flavor.

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

O = Open ToneP = PaIm (closed) ToneS = SIapH = HeeI Stroke oJ Rocktng MottonT = Toe strolce oJ Rocldng Motlon

These two are for the Bala6:

+oo +ooo

o+oo+oo

'nef 'lj lrj'lf f rl

++++ o

Thts pattern ls for the Bongos. Baslcally thc lamc notauon code aa abovE appuct crccpt thrtdr 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 eundt€xture you urant.

2.

OPSHTOPO HTOPOP

RHRSRHRT RHRSRHRT57

tsrazifinn lPerausion

Caixa

The calr.a's (snare drum's) us€ ln Afro-Braz lan sbdes has lts roots |l|r the Portuguesc mllltaryparade st5rles. The calxa's most prevalent role ts ln the Samba Marcha, the Batucada and rclatcdCarnavat styles. although tt ts also lncluded ln many other songstytes. By Amerlcan standards, tt lsplay€d wftha relau\rcly mtntmal amount of actual anare drum tedmtquFmosUy singlc ctrokcs, doublesand 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 onthe fulcrum of the sflck udth the thumb and lndex and mtddle ftngers. fhrnk short note and ]tou'[ getthe rtgfrt sound. Ttre rolls are most commonly what I'll call a sloppg buzz stroke- It lsn't-pla1rcd llkc aclean rudfmental or orchestral roll. Baslcally accent and press tfie sttck on the head to buzz' You canalso try to play a shorter, staccato buzz strokes |f you're playlng contlnuous elgfrths, the tempo l3 fastand 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 bymaktng one stroke for the flrst of the three rtghts and then Just lettlng the other notes fall. Tt e ldnd ofslurs 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,.

B

58

CoiKn

RLRLRL

5.

RRLRRRLR

oaa>:>-

6.

7.

Followtng ls a rh5rthm for the dancc style called Mard:re. It also works vrry wcll for theBata6 and some Marcha st5rles:

RLRLRLRL RLRLRLRL

RLRLRLRL.RLRLRLRL

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.

'Es'i' t,,L 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 rtlckln one hand, with the other hand playlng dlrectly on the head (/future 2). It oftcn lcrvc. a! a rcrt oflnternal muslcal conductor ln the Escola de Samba playhg cues for the enscmble, It la utcd fa tolofllls, 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 rhythmtplayed on tt. Followrng rs the bastc trmekeephg pattcrn. The rhythns played by the lcft hand crn bemuted strokes used asfler, open tones, or saaps.

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 thetambGtm, but tt works well here too.

RR R R

oaa)ao

RRLRRRLR RRLRRRLR

1.

6l

tsrazi[ian lPeruusion

Caxttri

Ftgure 1 Flgwe 2

Ca:<|)<t are weaved baskets fllled wlth elt]rer beads, sea shells, pebbles or beans. Ttrcy harc srnallhandles on thef tops. Betng hand-weaved, tlrcre are many dlff€rent shalres and slzes Wwe 11. Ot'gl'naly, $trall car$d were used wlth the Berhnbau ln Capetm mualc. (More on the bcrlmbau letcr') No\rthey are used for rhythms or coloratlons tn many styles, To create rhythdc patterns ]tou can play oneor morFtn each l]€rfi, Wure 21, Follourlng are some patterns. The top ltne ts the rlg[t hand ard thebottom the l€ft.

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 amarual art. Although tt ts ltke a deplcUon of a confrontaUon, its gracefubircss relcmblca thst of rballet. Capoetra further evolved ln the northem part of Braz -|II Bahla and other rcglonr ln thc.tateof Pemambuco.

The firstrument ls made of a wooden arc--&om a wood called Blrlba-wlth a wlrG rttehcd fromend to end of the wooden arc formlng the shapc of an archer's bow. A round gourd wtth rn opcr ng onone elde l,s attactred to the lower, outstde end of the bow, appro)dmately 2O to 25 ccnttmctcf,r fron thebottom, fith a plece of cord. Thls functtons ar a resonator, The cord lt Ls attachcd wlth || d.o tlcdaround the wlre. You pull on the cord to bend the pttch produced by the wlre strlng. You dtcr thc toneby pufung the gourd agFlast and away from your body, thereby opentng and closlng the hole, tttcother three components are a coln or metal washcr, whlch ls held agalnst thc wlre, a ltDall rtlcl tostrlke the wlre and a small ca)drd. (See lllustratlons on no<t page.) Althouglr orlglndly rc|cn'Cd.trtctlyfor uEe ln Capoelra" tt has found lts way lnto othcr popular folk styles as wcll ar othcr contcmpo-rary ldloms. Some muslc:lans have erren recorded lt as a solo Urstrumcnt.

The many dtfrerent sounds and nuances avalliable on thls tnstruncnt and thc lmFovlrtlqralnature of the varlatlons make lt dlfrcult to notate full playlng. Follorvhg arc lomc pattcrnr to let ,'oustarted. Begln by playlng two bars of each pattern. Work these two bars tnto a groo\rc and tnprovlrewlth lt by playlng the two bars of the pattern and then two bars of lrnprovlccd variatlonr. Thcn t Lethe nerd two bars and do the same. No<t you can usc the entlre four bar pa.tterns and plry fotrr brrs of|mprovls€d varfauons. Flnally, put lt all togethcr and hprovlse wlth that.

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 cotrtagatnst the wtre.

4. L.H.-l\Iotes marked wtth > mean to close the opentng an the gourd bgpulltng tt agatrwt gour bodA.*

5. L.H.-Notes marked wtth < mean to open the opentng on the gourd bgpushtng lt awagJrom gour bodg.

*The opentng and clostng oJ the hole on the gourd. ts largelg a matter oJ the plager's technhalabttttg 61nd mystcal taste. There ls one common approach Aou can u,se atfirst. Itr/hen the coln ls nottouchtng the uttre pla1 the notes closed. When the cotn ts touchtng plag them open,

1.

r5-t

64

2.

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 dthe 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 plryalong wlth. If 1ou don't have any MIDI gear, then rccord them to a tape and play aldtg ttth thrt. f youdon't harrc kgDoard chops to play these oomples ynurclf then ask a kqiboard plrF ftEd to lccadthen 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 Lplayhg and hooking up wlth tt. Here are some baslc pattcrns.

lhe flret four examplee are for Samba.

D-7 G7

D-7 G7 D-7

c-lF c-/F

1.

2.

3.

4.

c-/F

65

Erazi[inn gerausion

2.

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

G-7

The next two examples are for the Bala6.

D /Fil

c7e

D lFI

3.

l.

2.

The next example ls for the Frevo.

l. G7 G7

The next two examples are for the Afox6.

t. C D-7

G7 G7

-ta

66

G7 D-7 G7

'Ifu trtulh,Suion

The next erample ls for the Bossa Nova.

G-7 c7 (bs) e-z t bs)

cz tbgl d,-z tbsl pz tbs I

l.

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

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

olz

Comping Patterrrt on thle Plano and, Gultar

pz tbg I

2.rLz pLt G7 G7

67

Srazifnn lPerausion

l.

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

The next goup of examples are for ptano or keyboards.

Samba:

1.

cLr c6 cLz c6 D-7 G7 D-7 G7

Bossa:

l.

2.

2.

nz tbg) cr rbsl

a) ?l-l,

LUV ?t-a

LLI 7 ,, - r|57.4

,', lff ry F4

,a

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. Itlllustrates some common rhSrttrm s€cuon tnterpretaUons of a Samba. The bass ltne{rawlng ftomBass E €mples three and four---+rras used througtrout, and the ke]'board compltrg uses the pattcrnfrom Keytoard Example number two. NoUce the ofibeats tr tlte turnarounds and how those relate tothe patferns |It the percusston and drum set o(amples, TYy playtng througb the form ustng varlousapproaches 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 tticctgtns and biclqg;unds of Orese rhythms and song-styles. You sttould also harrc some baslc tcchdcalddlls 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."it rtt tttf"

"tyt". Ttrls w l be lour ultrmate €iulde for how to aruculate these rh5rthms' In Itour llstcrtlrg

try to ldenufy 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 wentto 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 aboutharmony and melody and hw the other irstruments funcdon---€spectally tf pu are_ rcally trylng to leatna style and reatty tyng to team nuelc. Thls w make 5our role as a muslclan much mdc qgtf""ttt fqprerlgefy tfrfe r;sdFtou become a muelctan, not Just a drummer. In Bradl, to belqg to thc Batcrla ofan Ssdla ae Samta tito be part of an elite class. Ttre same holds true ln many Cuban and Aftlcancultures. 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 anfscota 3ou f,ave to know many songstyles, ihy0rms and mustc tn g€neral,-not Just- the bcets' As vra!

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

Rhythmssongstyles

-

Technlques

-

Appllcations

73

Tips for Getting the Right Sound and Feelon 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'

.|It ""frt"a,

loud, soft, or glrooted.-Ihe thfrd is what part of the surface you strtke ' Vlrtually any partof any 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 todead-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<trn shots, buzzed notes, etc., Ghosted notes are an essenual part of getthg the patterns togroove and feel rlght.

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

have trt€d thls.

Agaln, here are some common elements that run through these styles. Phr-a8e to the last noted the bar---qnd the beat-.whether ln a t|Ine fe€I, ltll, or tn parts of solo phrases. This gnrcs a fee[ng offorward moflon to the groove-rather than playlng the downbeats-whlch gIrc a feelhg of cadenc€ tothe tlrne, Here are two exanrPles:

2 'EQtt t, v t r) lE

74

1.I

--Z -ra

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 thcessence 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 thelonger, heavler note on the upbeirt of each bar,

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 |nFovLatlonon thc druE sct. Pracflce these by tahng each phrase and bu dlng Umc feel+ yrrbtfqrr r!|d lryovl-gatong around thern.

l.

2.

,*irl ri lt tt

76

Bossa NovaIntroduetion

There are many theortes regardfrg the evoluuon of the Bossa Nova. Some say the purtrto€e was tocool dorpn the Samba,-others Orat it was i result of Braz tan muslclans comlng together wtth AmcrlcanJazz arflsts and st5les, Whtle both of these are somewhat true, the cool doum vras m(,re a result of thenew 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 lnthe 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 popularstyle of Samba tn the 1940's and 5Os, (The Samba sectlon wtll tell you about ttrts style.) In the l95o'sttt" Su-U" C"o9a6 began to show lnlluences ftom dance styleo of other cultures-cha'cha, bolcro' foxtrots 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 muarciantwio had- a bg fnfluencc on the antecedent styles of the Bossa-parucularly the Samba Can9a6+ereAry 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 aprofound frlluence on alt gunarrsts who played the Bos8a. lhese hdMduals paved the way for thedevelopment 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 [rstrumcntalaccompanlment ts-also subtle ana aownptayea. Whtle tt marntatns some of the rhythrnlc rntcndty ofUre SamUa, the percussfve accompanfment l8 less pronounced, more subdued. It fs a stylc bcat sultcdfor guttar and Udrt p€rcusston, vrittr the vocale, lyrtcs and songuntEry; featured nore promfnently. InaddiUott to the beauufirl lyrtcs of the sostgs, the compostUone feature rrcry Eophlstlcatcd hefmonfcralrd 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 Carlo6Joblm 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! StanGetz and CharUe Byra. Tbese two Ameltcan muslclans, aa well as several others, sp€nt a eFeat poruqrof 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 vcrymuch 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 atthe o<act same tempo and they wlll feel and sound dfferent. Llsten to the recffdlng fo a cmparlson.

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.. lnthe ncrd secuon you'll work wlth brushes, and wlth the brush-suck t€chnfquc. Ftrrt let a nlct .Eothfe€l wlth ]'orrr rrde pattern on the hl-hat, along wlur thc basg drum. IG€p tn mlnd thc tlp. rclrrdlntrldtng wlth the shoulder of the suck, dead-suchng and playtng on dtfiercnt partt d thc .urtcc pu'rcrldlng 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 dlfirrqrttempos move to tl:e ne)c secuon.

RH-Ht-hatLH-Rtm

Bass DrumHl-Hat-Foot

Followlng are some vartauons for the ldt hand. SubsUtute these patternr for thc baalc lcfthand pattem above. Alnrays work ln phrasee-1.e.: tvo, four or elght thes cach pettcrn. keucc thcEat dlfierent t€mpos and d5mar[c levels. Also pracucc all the rhythms starttng cr thc eccond b.r d thcpattern. There la no theoreucal rule ae to wtrlch porruon to play the patterru ln. The rule lr e mudcrlone, 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'tpercelve or learn pattems as belng |n a forward d rcwrs€ postuon, Leam the rhythnr thaouthly lrdplay the phrases the way the muslc tells you to. Whcn 5ou're comfortable move to thc nqt .Gc'tlon,

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

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

4.l.

5.2.

6.3.

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

77

tsrasifion :Drun S et Kfrytfrnu

t2.7.

13.L

'EerJrfTlJ' )t'l il

14.9.

'netJJIlllfT')JI10. 15.

16.11.

,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 adtficrent patt€rn the fourth flme. Thls gIrcE you an elght bar phrase. If 5ou now rcpcat thls wholephras€ agah, and play a d!fferent vartatton the fourth trme, yourve got a slxteen bar phrase. In Orcperformance of a Bong, )'ou'll most ltkely use one or two bastc patterns and sorne dfght varlatlono formost of the vocal and melody secuons. During the ltnpfovlsauond s€cuons you can gcndally mlxthtrgB 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 lnthe 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 thesnare, 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 soundsln your artlculatlons.

78

lbsse ^{pu

In 4/4

5. Rlght hand on ht-hat, but now openlng the ht-hat on the "l+n and "3+n of eachbar-left hand on rlm of snare. You can also play thls as an accent only, wlthoutopenlng the hl-hat. When rldxrg on the cymbal, try playlng the acccnt on the bcll wlththe 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 handon rlm of snare {flgure I ) wtUr a stlck. The second version of t}tils ts wtth the left handdtrectly on the snare {ftgure 21. (Later you'll also add other varlatlong to the brurh sldcr.) Iplay tlle sltde ln tl:e followtng way--on the bottom, lower rlght of the snare. The arrowr onttre 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 toplay 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

wlth the left hand lflgures 5 and 6) You can use both full and half clrcles. As you get

comfortable wlth tfrG you can add accents and other artlculattons ln each hand.

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

LLLLLLLL LLLLLLLL

Once you have flnlshed workhg fitfi all of thls materlal pracuce lmprovtshg wtt}l tt as muchas poselble. \ioo

""n mo.'e tl:e left hand to other sound aources, add accents to the varlous volccB for

color, thtnk about orchestratlng the pattems |I1 dlfferent ways on your drum ldt' and pracucc golngfrom 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 thcB6sEa secgon. Practlce playtng tIrc nurstc, so you can learn to play Bossa Nova, not Just a bunch ofBossa No\ra patterns,

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

2.1.

RRRRRRRRLLLLLLLL

RRRRRRRRLLLLLLLL

Flgure 5 Flgure 6

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 raplaylng fn 4l4.Yotu etrould strfirc for the same cm@th feel and ugc slmtlar Gclrc.tratlo.rr. lb|lot|na ba baslc pattern for the drum set:

RH-Ht-hatLH-Rtm

Bass DrumHt-Hat-Foat

Once you feel comfortable wtth thts, pracuc! the followhg varlauon. |tr thc lcft hrld. Strttwlth 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.LYolL shoud prootlce or.d trote @rrtrol oJ all tlte rr'rr,blls.

rEfiiJ,)rJl x I

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

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

5.l.

6.2.

7.3.

4.

rEX J-ll ,)ulj I r il '[+ l-Ju,br.bj J] 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 toall of the 5/4 pattems. You can rq)eat the one bar pattern alone, or comblne two pattcrns to make a twobar phrase. Also try playtng one pattern as a theme, and lmprovlslng the second bar. Tlrts fitl get youstarted 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 tundand 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 brokcnc 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, tryustng one of the one or two bar rhythmtc patterns as a mottf. Keep thts as your theme, and pracuceltnprovls|rrg vartattons around lt.

1.

2.

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-hatLH-RTm

Bass DrumHt-Hat-Foot

Here are some rhythmlc varfauons for tlE lcft hand. As ln the prq o|ra cbrytar, thc rc Erenot bcamcd tnto EubdM8lorrs. You ehould practfce ptraslng ln 6 (stx cqual bcatr h thc Erutc). |nhalf notcs (meaeure dMdes rn thre€), and |Ir dottcd half note8 (measurc dMdc. tn hdl).

5.

rEf; J J | ., b, b., bt

6.

r[fi J J J J]] , b, bfl

7.

rnfi Il*If r.b I., bt

8.

rEfi J J l-1 1b f 1 bfl

1.

rEf; J J u.b J-J, ), )i|

2.

rEf; J J .,)u)., )r.b||

3.

rnf J J Jl , )J J-] il

4.

rBf; J J ?)Y)'.bllll

83

Bossa Nova ln 7l4

Once agah, follow the same approach as for the Bossa tn four. Go throug[ all of the prcvtous

hstructtons "ia

pn U t*- the feels-tiroroug[y. Hef,e ls a baslc ftamework to statt wlth:

RII-Ht-hatLH.RTm

Bass DrumHl-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

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

84

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

Stgniflcant Artists and Suggested LlstenlngBossa ffoua.

Followtng ls a liEt of arusts who made runncant contrlbuuons to the dcrclopncnt d thcBosea. These are composers and hstrumentalt.tr renowned for thetr work ln thlr tdlom. Ttrc purpceof 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

-Poet, autiror, dtplomat, l5nt-

clst. Wrote lyrlcs for over 2OO

songs. Was an lrnportant figureln the lrnkmg of the Sarnba-Canga6 and the Bossa Nova.Collaborated extenslvely wlthJoblm and other key Bossa Novaarflsts.& Barroso-4omposer of Aquarela doBrasll as well as many lnterna-ttonally recogntzed Brazlltanpleces. Collaborated extenslvely\rfth otJrer composers. Hlscomposttlons were recorded bymany Brazthan as well as Amerl-can artlsts.Geroto

-Gultartst who lnfluenced the

gultar s$e of the Bossa wtth hlsharmonlc approaches to Sambaand Choro styles.Noel Rosc

-Gultarlst wrth maJor lnfluenceon the styles that led to theBossa Nova.Altf,onla Ccrtoe .Iobln (Tom",Iobtm)4omposer, guttartst, vocallst.Internatlonally renowned andlnnovattve composer of marry ofthe most well-kno\iln BossaNovas.,Iofung Alf4omposer and plantst whohad a large lmpact on t}te Bossacomposers and tnstrumentallsts.

,Ioa6 Gllherto

-Gultarlst and vocaltat who ln1958/59 brought the Borsa totnternattonal attentlon wtth hterecordtng and performance ofDesqflnado by Joblm. One of ttrcorlglrnators of tlte new Booeaguttar s$e of that pcrtd.,Ioa6 lrotrrrto

-Ptanlst and c€mlntcr wto rcontrlbutlons to the Bocgatncluded much Amerlcan tanlnfluence.LuIz Borta--Gultarlst and campooer of,

many pleces that lnlluenccd thedeveloplng Bossa sty4e.Astrud, GII}rr-to

-Vocaltst who'g duet rendlUort

(wtth her husband Joa6Gtlberto) of Garota dc lpnenu,(Gtrl FYomlpnema) wlth bothPortuguese and En$lrh lyrlcebrouglrt her tnternatlond reco6-nltlon as a Bossa st5rllst.Carlos LWa---Guttarlst and compocer ofmany Bossa standardg. Fornrcda glrttar academy tn Rto wtthRoberto Menescal, to work wlthprogresslve Bossa Nova 8ult8rstyles.RioDrrtoMenrlrn,l

-Gultartst and compoeer ofmany well known Boscat.

85

Srazi[ian :hun S et qfrfifr*

Naro Lco6

-Vocallst and Bossa Nova

styltst who recorded manyfamous Bossa composltlons. Shewas a key vocaltst and flgure lnthe 1964 Brazlltan pollttcalprotest muslcal Oplita6.Osccr Castro-ffeues-

-Guttarlst and composer of

many early Bossas.Edtt Lo,ap.

-Guttarlst and songwrlter ofmany pleces ln the early slxtles.Known for lyrtcs that werepolltlcally tlnged.Badeln Pouell-Influentlal guttarlst whorecorded many Bossas as well asother Brazlllan styles. Hts gultarplaylng and lmprovlsatlonlncluded much Afro-Brazlllan aswell as lazz lnfluence.Neuton lfrendoga

-Plantst and composer who

collaborated wtth Joblm onmany now-famous Bossas.Aloyslo dc Olhter.rr---Composer and collaborator ofmany Bossa standards. Asdlrector for the Odeon recordlabel, was ln part responstble forthe release of Joa6 Gllberto sChega de ffiudade stn$e whtchls consldered by some to be theflrst Bossa recordlng.

Serylo lfrendcsJomposer and leader of theSexteto Bossa Rlo, an earlyBossa Soup tn Rto. He latercollaborated urtth many Amerl-can Jazz arttsts ln Braztl andgalned most of hls recognltlonthrouglr hts leadrng of varlousBraatllan groups ln the UnltedStates from the gouP Braztl'66to current releases.Eltscf,;h Cor:doza

-Vocallst . Her album CanPi

do Amor Demsts feahrred Joa6Gtlberto playlng guttar. Thls wasone of the flrst Bossa recordtngs.Ificrrcos Vslle4omposer whose Bossa muslctncluded lyrlcs of soclal com'mentar5r and polltlcal crltlclsm.Ronalfu Bdscoll

-Composer/ son$nnlter' Wrote

lyrlcs for the Roberto Menescalsong Rlo.Luis Egcl

-Influenttal Planlst, comPoser/songunlter and arranger of manYpopular bossa novas. Arrangerof Mllton Nasclmentos flrstalbum. Performer ln manYBrazlllan styles.

86

Sttgguut tutists tud Sqgesut ListcttQ-lhsn Npoa

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

By: Antonlo Cartos ,Iabim:'Wtth Vtntclus de Moraest'W ItIr N euston Mendoga.trWlilt Alogsto de Olluetra

Chega de Saudade*Desafbnado**TrtsteIf You Never Come to MeCorcovadoWaveAguas de MargoLulzaEla 6 CarlocaGarota de IpanemafAgu" de BebertO Grande Amor*56 Dango SarnbatInsensateztMedttag60**Samba de Uma Nota 56A Fellcldade*Samba do Avla6Vlvo SonhandoPor Toda Mlnha Vlda*Dlndl*ff11"rng1s***Eu e o Amor*Se Todos Fossem lguals a Vocd

By: LuIz Bo4fa:

Manha de CarnavalA Chtuva CaluEngano

Byz,foe6 Gtlhefto

Btm Bom

By: B&nPowell

Samba Trlste (Sad Sarnba)

By: Ccrlas l4ra;WItIt Ronaldo BdscolffrWltlr Vlnlclns de Moraesff'ffitlt Newton Mendryrr+fWltt Alogsb de Oltturltru

Marla Ntngu6mSaudade Fez um SambafLobo BoboiColsa Mals Ltnda'rSamba do Carloca'rPrlmavera*'Sabe Vocef'

By: doai lhrruto

Mtnha Saudade

By: ^ililarcos VaIIt and htrl WVatle

Samba de Vera6 (Summer Santbe)L6grlma Flor

By: Ronald'o Ddrorll and llolrrtoMenescal

O Barqutnho (Ltttle Boat)RloVoc6TelefoneA VoltaN6s e o Mar

ey: Vhfctls &ku ad ftqrfln

AquarelaAs Cores de Abrll

a7

SambaIntroduction

Before begtnntng thls s€cuon, go back and revlew the Samba secuon tn P+.9ne' Revlcw thc

rnytfirnfc pattern-s of ei"n of Ot" p"rcrisslon lnstruments, and the baslc characterlsues of narbue

Sraml-Ua stytes, ruso revlew all of tire ttps gecuon. It ls lmportant to keep tn m|Ird that mo8t asllcct! of

a-- ""t

pr"ra"s |Ir thls style w€re derrrcd ftom ttre rhythms of one, or gcraral, of the P6cu$lontnstruments, Tll€re are many dffierent samba styles and many ways to play eactr of them' and thcp"r**f"" ,lrp" .t eneemble lou're playtng 11 wlti d€termlne what you wilf phy. Remonber tlut rcgard'

i"." on Ut" Jjng-style or the ie-p", tfti sinUa fe atways felt and pla5rcd fntoo. ThG foundetlon 6 ba!'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 rocabularytU -rtli rc.tt pfaytrg sound more authenflc. Adaptrng the technlques and, rhythms of the pcroreclon

trBtruments to tlte drum set w I enhance your ptayfng fn tb,fs stj e tremendously. Also kec? ltf mfnd

that alt of the musrc belr1g pres€nted here is folklorrc rn nature. It ortgnatea a1a- 1as nryt ptayea Uy

the comnon folk rn the siectFmuctt ltke the orrgn of the blues tn the Unlted Statcs_. Tlrerc playere

wcre not ncccsaarly muslclans wlth tremendous Gchntque on any lnatrument, and 11. thcy scre lt waa

more hagrnstand than a @nsctous efiort. As a matter of fact the lnstrument€ thcmelwr wtre vctyprftofud-Uy o"r Etandards, Techntque on your lnstrument ls a btipart of our focus tn muslc tday.just don't;nake your matn focus a

-tectuu&l one. Your maln prlortty should be to caphlc thc fcel. Tttc

techntcal concerirs should be secondary---assumtng you already have your chops,togethcr. If you

aon't, ttren you must address thts beforl you can aplroactr thls study muslcally. On the folowhgpage 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 thcp€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 |tylcathe 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 manywaln 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 upunttl 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 ofthts 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 anerg[ttr note UAore tt, but not beforc the downbeat. All wlll gtrrc you a dtsunctly dlficrcnt fla\rE Er thcfeel. 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 thepattern you're most comfortable wtth, and go on to the foUowlng e:<ercls€s, Then come back and do thewhole oequence agatn unul you've covered all the foot pattems.

glaFoo/ttutl'''|€,tThe 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 makcyour 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"E$J l J r l! | J r Ir rr r

5 ) ll J rl ll I

t

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 thcabov€ foot patterns, There are two reaaons for thlr approach. The first: bccautc thlr lr rctudly qtcway that pu play Samba on the drum set. Thc othcr ls more teclmlcal. Many drummcn rrc undcr theIrnpresslon that playlng Lafln rhythm8 on the drum rct lnvolves pliaytng rrcry bury, ryncot'.tcd FctemE wlth the hands o\rcr a foot osthato. Whlle to an unfamlfar €ar tt may round llkc e lot |ll tplqt onwlth the hands over a foot pattern, Just the opposttc t3 more ofter.r the casc, What l! actudfy aot|! qtln each llmb ts very slmple, It ts \phere each rhythm ts pliaced and the orrcrall rhythmrc htcrFctrtfdrthat creates the lntense syncopated fe€lhg. By workhg wlth lour hands |Ir unlron, youlc not q|lylearn|rlg actual ways of playlng Samba, but you can focus on how the rhythrur ltne up bctcrr lioutllmbs. You w l hmedtately be able to hear lf Irou arc out of sync between pur handr end f€ct rt|dmake 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)<t wtthout stopplng. hactcc untll you can morrc from onc pattcrn to rry olherwlthout stopplng, Focus on the feel lrl your aruculauon of the rh5rthms, snd dlo try to fo$r. (n yqrrwerall gfoove. Once you're past the techntcal elemcnts practlce llnprous|tt!|.

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

I

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

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

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

ll

6.l.

7.2.

8.3.

9.4.

lo.5.

9l

rnevIlrlj ll I J*)il ,no,ffilJ lTl

$razi[ian Drun S et Wtfrr*

t7.11.

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

rnsyJ-;YJ-,] lYJl]?J-'l I rne vfTrI; lJ lI;ilt2. 18.

13. 19.

rs. 2r.

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

il

22.

rno vj-ilJ J-Jll J-JJ-IIJil 'ae

I )r I lr ), il il

16.

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 tlrcghrcn 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 trcphrases 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 berlmprovlsed varlatlon at the end.

93

4. SD<teen bar phrases can be made by repeattng two elgbt bar phrases wlth varlauons at th€ end ofeach of the e4bt bar phrases.

5. Thlrty-two bar phrasee can be made up of two €Foups of elght-maldng slxteerHnd thcfl repcatlngthe 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'tpW lob o:f Dorlo;tlons and. tw tleme . Your playbg w l sound very dlsJunct, and your llstcnerowon't have any tdea what 3ou?e playlng. Remember, ln Brazlllian muslc tt ts the melody tttat wtlldtctate what wdl be played. L€arn tunes and practlce stnglng a tune and Unprovtshg the drum setparts around the nelody.

Once you can play phrases wtth the prevtous suggesflons, begln worktng wtth the folldtlngo(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:

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

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:

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.

q"r{,

L,'{,

3.

4.

KJ{,L,'{,

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 ftrtwlth 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 thcshouldcr of the suck, glve you many \|arlauont.

un] n 'r*'b] il 'strlr il

Et I gt E* rrllil

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 Dotcof a three note ostlnato. The lefts can be playcd gtrolted, sltghtly dragged or rlurrcd, or mrtcd.Number one ls the most common samba permutatbn.

El J-J-J-:il Hl II4l ru J'Il-Jil Bl J T rril

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

## Etr-Tllil mOrchestrate all of these examples on dlfferent sound sources on the drum ret. Thtnk of ttrc

percusslon lnstruments' sounds and patterns.

3.2.1.

5.4.

4.3.2.l.

4.3.2.l.

95

2.1.

Sttcktng Comblnatlons

Follo$rhg are some sucklng comblnattons that work parucutrarty weu-r.o1 fgpa' Rcmcmbcr'

that you must hive accented alrd -onaccented-ghosted-notes 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

HIghTomSnareLow Tom

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

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

2.1.

RLLRLLRLLRRLRRLR

LRLLRLLRRLRRLRRL

LLRLLRLLRRLRRLRR

RLLRLLRLLRRLRRLR

RLLRLRRL RLLRLRRL RLLRLRRL RLLRLRRL

RLLRLRRL RLLRLRRL

RRLRLLRL RRLRLLRL RRLRLLRL RRLRLLRL

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, RIjXRLRRLL. Work these tnto dlfierent comblnaUoru around the set.

RLRLLRLRLRLRRLRL

LLRLRLLRRRLRLRRL

LRLLRLRLRLRRLRLR

LRLRLLRLRLRLRRLR

The followlng sucHngs can b€ looked at a cotrple of dlfierent waJI!, Thc!, arc an cdcn&r d epr€rtlous e](ercls€ pu dti, tn whlch you took the trD bar Samba pattCnr ln 6te hJrd. rrd illcd !r theIlUsslng elgbths wltlt ]'our other hand. These three cmmplcs use the suclfig RLRLRII a IILRLRR asthelr base. Slnce thls ls a seven note sucldng and ),au're plajdngi ln trf,o (or fow), 1ou cen rdd rhrtcvernotes you need to round out the phrase. You cen allo do thts wlth the prwlour tgo cnmplc.. Anotlrerthtng you can try ls to brlng out only the rrgbt hand, or only the left hand acccnt!. Youll bc .urFL.dat the dlfferent rhythmlc patterns you can comc up wlth. You don't harrc to ltmlt yourc|f to aily rlahtor only left hand accents, Thlnk of the overall rhythmlc pattem. I(ecp the Samba phruc. h Elnd tomalntaln 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{lyrecommend 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 thrtmatertal dlrecuy to these lnterpretattons.

l.

LRLLRLRLRLRRLRLR

RLRLLRLRLRLRRLRL

LRLRLLRLRLRLRRLR

RLRLRLLRLRLRLRRL

LRLLRLRLRLRRLRLR

RLRLLRLRLRLRRLRL

LRLRLLRLRLRLRRLR

RL.RLRLLRLRLRLRRL

97

Erazilinn Drun S et Kftytfittu

2,

LRLRLLRLRLRLRRLR

:> :>

RLRLRLLRLRLRLRRL

RLRLRLLRLRLRLRRL

-:>

LRLRLLRLRLRLRRLR

RLRLRLLRLRLRLRRL

LRLRLLRLRLRLRRLR

RLRLRLLRLRLRLRRL

LRLRLLRLRLRLRRLR

:>

3.

RLRLRLLRLRLRLRRL

LRLRLLRLRLRLRRLR

> - >>

RLRLRLLRLRLRLRRL

>

LRLRLLRLRLRLRRLR

:> :> >> >

LRLRLLRLRLRLRRLR

RLRLRL LRLRLRLRRL

LRLRLLRLRLRLRRLR

RLRLRLLRLRLRLRRL

You should also work wtth stlcklngs that contaln flams. Use the standard rudlmentrepertolre 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 tfevr baslc concepts that relate to pliayhg brushe! ln any style that you should halrc do*ar flrat. Thcba8lc 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, pucan sltde clrcles, half clrcles, or any number of crmbhaUon8. In thls dfdng pu haYl to bc able to dothree thfngs. One ts to aruculate \arlous rhythms to genef,ate a tlme feel, the rccond f! to crcatc esound t€rcure, and three, aruculate acc€nts ln tholc slldes to emb€llrsh thc tlDc fcclt. Fulor|ng rrc afew 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, StlckControl, etc.-wlth brushes. Thls wtll get you comfortable wtth the feel of the brurhcain 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 end4 show the left. Sltde the brush on the snare as ls shown ln the illustraflon belw. Kccpsome stmple ttme wlth your feet. At each of the end potnts of the sllde pu wlll artlculatlng

-by means of a sltglrt accent-a rhythmlc scale gohg ftom half notes to thlrty-recondrand back down agatn. The ffrst couple of rhythms Eue tllustrated:

Ftgure 1

Flgure 3

FSure 2

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 thectrcle. Thls ts the potnt at whtch you'll make your rhythmlc lrrflectton (lndlcated by thearrow). Practlce artlcutattng the rhythmlc scale as stated ln number two above. As ]rouargculate faster rhythms the ctrcles wlll get smaller. Half note clrcles would be your largestclrcle and would get progresslvely smaller as the rhythmlc rate lncreases from elghttt notesto 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 artlculatlngthe rhyttrmlc scale, work on speciftc note values one at a tlme. Arttculate two notegper bar, three notes, four notes per bar, quarter note trlplets startln$ on and off thebeat. For example, tlr worktng on four notes per bar you can accent four quarterson the downbeats, four efgtrths on the upbeats, four elglrths as the last elglrth of atrlplet and so on. As the illustratlon show, sltde clrcles and practtce maklrg the rhythmlclnflecflon at the top of the clrcle shown by the arrow. You can also do these two exerclseswtth the rhythmlc aceent at the bottom of the ctrcle as you make the sweep upward.

5. Take pages ftve througlr seven of the StrckControl book (by: George Lawrence Stone),and lnstead of stlcklng the comblnatlons,play the stlcklngs by sltdlng them. Artlcu-late the rhythmlc accent at the downwardpolnt of the sllde as tndlcated by thearrow lflgure 71. The brush wlll makesound as lt slldes back up but lt shouldbe less pronounced than the downwardstrokes. Thls glves you varylng textures.The up and down sltdes work llke ac-cented and gfrosted notes.

PJ,PJ, PJ.RLLRIR LRLRRRLL RRILLLRR LLRRRLRR LRiLLRttR LRPJ-

loo

Flgwe 7

Ssfiotlri$rnsfrcs

Onc€ yourve pracUced the above, the nqt rtc? ls to put the hands t€ethcr to crcatc UrE ftd, tnwtraterrcr style pu're playfng-fn tlrts case Samba. tryou\rc pracuced dl d thc .ugge.tcd csds, therest 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.ndbrush whtle the rtght conthues sltdtng thc erghths.

2. Sltde elghths by altematlng hands-rrght, left, rtglt left-and play the rhytlrmr fr.oin thcsame 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<erctsc t5 will hclp thr. r bt.

3. Improvlse wlth a combtnatlon of tlre abovc tqro methods and thcn tnc6Fratc dl d thcrhythr c pattems covered so far. Mo.t pla]rers develop a pretty Frrorral tcchngee rtthbrushes, There ls no standard method. Praclce these o<amples, lFtcn, and cey cEfyortngyou see and hear. As you start gettfng thcle technlques under control,

'ru'll bctln to

develop your own approach.

It may be hard to understand these conceptr from the vrltten eplanatlonr. LLrtcn to thcrecorded ocamples and try to hltate the sound and feel. You should ako work wfth a tclchcr |rrd/can educaflonal vldeo so you can see these o<amplcs pla5red,

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 tocertafn 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 playlngaesortid 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

l02

On the followfng page are three patterns to start wfth.

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 -,SuggesttonsJorVarfstbns

and.Imptortlrtt*rnsectlon. TheJllled tn notes wtll now bc wl& the brush. Improvtse and apcrlment wlthdtfferent 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 yourown verslons.

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

1.

2.

3.

Ftgure 3 F$ure Il03

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 pcrcurrlonwould be featured. wrth the Bcterta of an Escola numb€rlng three to five hundred pcf,cuslrqdlta' you

can tmagtne thls ls a pretty powertrl sound.

In a group {band) s€ttlng thls would mean t}re drums-and percusstdr, rf prescnt+ould play

alone, If you-ar€ ptayttg arum Jet wlth a percusalonlst present, then you would cover the Surdo and

Ca115a (snare A*hl iott", and the bass drum and tU-hat. If there ts no percusston then you ottll necd

to cover the Surdo and Calxa, but any other percusalon you have on your set that you can add to your

pattcrns would only enhance the feel, mat<fng ft more authentlc. Some r'€ry easy thtng! to mount arc

Ago-go bells and Tamborlms.

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

R

104

llrr;ttc.s{.o

ltrese no<t e:ramples elaborate a llttle more on thc Surdo parts and the acccntt. lf Jou hrvc rmc tlur oneEountcd tom q two tloor toms or a tom on your lrt-hat !rdc, lncorporate them lnto thc pettdt[.

RLRLRLRL RLRLRLRL

>> >>

RLRLRLRL RLRLRLRL

>>>

RLRLRLRL RLRLRRLR

>>>

RLRLRLRL RLRLRRLR

>>- >> >> >>>

- >> >>>'

1.

2.

3.

4.

5.

RLRLRLRL RLRLRRLR

6.

RLRLRLRL RLRLRRLR

l05

Now that you have some materlal under your belt, start puttfng these patterns together andlmprovlse longer phrases. Followtng are some ldeas to get you started. Notlce how the phrases arebutlt employtng the concepts stated ln the Samba: Suggesttons For Improutsatton sectlon: longerphrases 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.

2.

RLRLRLRL->>

>.:>, >> > >

>>.> > -

>>>

R L R LR L R L RLRLRLRL>>>.>

>>> -

>>:>

R L R LR L R> >>:>

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

3.

L>

4.

RLRLRLRL:> >> >'

>>>>>

RLRLRRLR> >.>> -

RLRLRLRL- >> :>

>>>' -

RLRLRRLR:> >>> -

RLR LRL RL RLRLRRLR RLRLRLRL RLRLRRLR

RLR LRL R L RLRLRRLR RLRLRLRL RLRLRRLR

RLR LRL R L RLRLRLR L RLRLRLRL RLRLRLRL

t06

LRLLRLRL RLRLRRLR LRLLRLRL RLRLRRLR

SnhCru&

Samba Cnrzado

The word ouz.odo llterally means crosrcd rn Portuguege. Hence Sa'|ba Crurodo mc.tr. cra.€dSanba. Ttre crosB€d rd€rs to ]/our arms belng crocrcd at the drum set. Your lcft hand cras orlrJ,our rlgtrt and pliays the Surdo part8, whfle your rtglrt hand play8 vartous Samba phrarer qr thc l|aredrum (flgures I & 2t. Wure 3 on the next pdge slwws a close-up oJ tLe hand prrg.lt&.ntor *ttlrr t2slrorL nl,{:ted. notc oJ UE surdo pattem. Tfe hdcxlnger helps keep the stlck agoltrst tlre hd tlrE yg.rrotlAr twtd E notfitee to mute the drum.) Thts approach mlght have developcd ltr part bccrur tntpeople are rrght handed. Most of the trnprovtstng fn these patterns ls done wtth onc hand qr thc lrrrewhlle the other plays the Surdo ostlnatos on the toms, Slnce Braztllan drum sct pla]'cra rrc aenarrllynot ao technlcally ortented as Amerlcan drummerc thts approach may have cvolrrcd fn pert to dlot thestrong hard to do the lmprovtslng. (ThrE te Jurt a thcory and ls not a historlcal fact.l Ydr rhouH hpracflce thesc patterns wlth th€ tradfuonal crurddo approach. Then Jrou should rc|vtrac thc hrndr mdplay all the Surdo parts wnh thc rrght hand and rmprovrse wlth the l€ft hand. You can rl,.o Frt . tortom on the l€ft Etde of your set, and play the pettcrm dthe Surdo ln thc left hand. Th lmltrsv|atbnwrll 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

now, do all the pattern s (jruzado, then woik on thi opposlt€. Or you canpractlce the Surdo vtth both

h"rrd" ,ro*. llri Surdo pattern on a stngle drum ls piayed wlth one hand, by phyfng a d€ad'stohe on

the downbeat, and an open stroke on the upbeat'

1.

l08

S*ctu.Jo

Once 5ou're comfctable plarytr4lthe Surdo part rlth one hand, add thc marc drum. Dt wI tiltlr€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:

' n+ 'Ill*IJ lJ"-tl'

j-7 ,'

' ne rf ,fl hl-ll '[] il

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

l. Ti-.r r-3-1 t-3-r

rno J J J J J I l.l J J J J Jil

' nO

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

'nej-l-rl-fill+JIJrhil

If 1ou harc trouble puttfng the two part! tollether you can wrltc one und6 thc otbcr rc youc"tr sc" *ho" the hands piay together and apert. Snare pattern I abow wlth Surdo prttdn { tmthe 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 tothe 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 thcp€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. Thenplay phrases on two toms or mounted percusalon trstruments wlth the other hand. lSone emmplesoJ phrases are on tlv neft IWe,) If you play the snare wltll the rfg[t hand, lou'll harc to croar orrcryour rubt arm wtth your left. You'll be playhg cruzdda. Thts ls the tradtttonal way to do tttlE. Youcan do lt both ways.

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

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

R

110

s*rb{,e

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

Fd moe combtnauons, contlnue the lsrerc part wlth the one hand, end to b.cl to thc tn barSamba 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<amples. Thls way lt'! callcr to *c rtnn thchands fall together and apart. Her€ are the prcvloue two *mples notatcd llkc that.

R.H.

L.H.

R.H.

L.H.

1.

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

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

2.

3.

lll

$amba de Partido Alto

lvfany Samba rhythm styles harrc dtly rrcry subtle dlfierencee betw€en them |n thc pcrcuadonrhythmr ani tnstrumeritaUor. tVfany ttmes, the pcrcusslon stays more o less the Eamc, ,nd lfr thcfrar--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 ltngcrsalrswer wlth lmprovlsed verees. At the poht of tts de\rclopment, many Sambas featured long wcalpassages wfth no lmprovlsauon.

In the rhythmtc area, lt contalna some sjmcopated rhythm patterns that the oth6 sembastytes do not-tlie most prevalent of thes€ behg the strong accent ofi of the first beat, and thc acccntori 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 thcSurdo-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.obe played startrng wlth the Eecond bar of the phrare. Remember that l|ou dqr't thrnl d thL r. fanrdor reverse. Play accordlng to how lt soundr bcrt wlth the melody and thc rhythm .cctlonarrangement. For all the followlng oamplee the top ltne marked "f l,s thc hl-hrt ard thc bottm lhcts 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 thcfoUowhg page. In an arrangement of a contemporary Eong tt is very common for ore p.rt d tftc adtato b€ Parudo Alto and another to be a regular ramba goove. Itacuce gofng back ard fortlr bctrtcn thetwo tlrycs of rhythms. It rs very lrnportant to be ablc to go back and forth smoothly, a! t€ll ||r .ct uPthe 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 lnthe 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 tetrrsof coordlnatlon. You'll go through the petterns three tlmes; oncc wtth each of thc lc{t fiootvarlatlons.

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

3. When you're comfortable wtth the nw rlde patterns put them on the rtdc cymbal end com-btne them wtth the three left foot (hl-hat) ostlnatos. Agaln you'll haw a nsw cocdlnetlqtelement 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 rugertlcrsfor 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 forthe Samba. One lE three, and the other one lE seuen, dlscuss€d ln the no.t s€cUon. Ttrc foot patternplialrcd fn three ls the same as the one for the S'amba ln two, but of cpurs€ the onc beat pattern Itiep-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! fdthe hands. The enact same approactr ehould be taken here ae for the other Sambas. PracUcc thltc€ctron as follows:

l. Play all phrases on the next page wnh the hands ln untson over the foot pattemitndlcated 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 thcht-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 thatsamba 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 thcmtogethcr fnto tso bar and longer phrase8.

,'gfrfryfrr ll

4 rnt Uf-l J'J-l FH

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

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

Here are some examples of two bar phrarer.

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

1.

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

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

2.

3.

tt7

Samba in 7l4

Sarnb@ tn Seu€n ref6s to Samba where the seven beat phrase takes place twlce or sPhts l!1 halfthe leng;th of one bar. For er(ample otrcbar d?/4 t'8 played ae two bars of 7/8' Although thc actualume etft1ature aoesn't matter, tfus does not refer to a feel where every beat gets an equal pul!.. In thatcaee Jro:u woutO play as lf there were a full bar of 7/4, and the bass drum pattern would flt Gt/€dy rnto

the b-ar---once per beat. Thts samba tn seven ls felt and pla]rcd wfth a onet o, one4to,-onc'fu)o'thJeeor a one-Auo, or.e-ADo, one-Aw dnd plulge and feel. In actual playlng you can almogt fccl thls ltrtwo, 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 thcphrases 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 tomakc thrs feel lerky or OsrupUrrc oi thE flow of the groove. The feel needs to be eanooth ltkc thc Sambas

tn duple meter-s. f6ruwrog rj an lustratlon of how-thts dropphg of the last beat translateo lnto tlrecounung of the bars:

Thto orample can be counted ltke thle: where the counttttg of the word Eevtn or y gcts dresyilable-"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:

,nzJ.illFlJ1 ,ll

1.

118

2.

S*Is7/4

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

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

rEutiY)rb?l\Y

rHz J J Jr, b,)J Ilil

rnz+lf,))J )Jil

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

rnlitJ-lr)*'btlil

2.

1.

3.

4.

5.

6.

7.

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 bcrorinaeA 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.

rnl I ul fn

1.

2.

3.

2.1.

120

S*It7/4

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

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

rnz fil niJ-ll-J il

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

t.

2.

3.

4.

l.

2.

l2l

tsrasiftanDrunset Wfrffis

Stgniflcant Artists and Suggested ListentngSo;mbo,

FoUowlrrg 19 a liEt of compos€rs, tnstrumentallste, and €nsembles who made slgnlflcant contrl-

buuons 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

-Early samblsta from the PragaOnze area. Composer of manyfamous carnaval sambas.d@6 da.Bo;lantn.

-Early sarnbtsta from PragaOrlze. Composer and Performer.Credlted wtth lntroducltrg thepandelro as a samba lnstrument.Donga

-Early samblsta from the PragaOnze area. Co-composed theflrst sannba, Pelo TeleJone.Banda,Odrprn

-Samba group from Fraga Onze

that couered (performed andpopulartzed) the flrst sarnba,PeIo Telqfone.P[x@utnhrr

-Also from Praga Ortze, consld'

ered one of samba's foundlngfathers. Arranger who tntro-duced progresslve harmony andmelody to sambas. ComPoser ofmany famous sambas and leaderof a group called Os Batutas.Ismacl Sllucl

-Important composer ffom

Estagto. Wrote many famousand lnfluentlal sambas.lYltton Bastos

-Important composer from

Estaglo. Co-wrote many famousand lnfluenttal sambas.Annc;ndo lfiargal

-Important composer from

Estaglo. Co-wrote many famoussambas wtth Blde.

Bldc

-Important composer from

Estaglo. Part of an lnfluentlalsongwrtttng team wfth ArmandoMargal.Atanifo Aluec---Slnger and comPoser whos€songs became very PoPular dueto the emerglng medta of radto tnthe l93O's.Assis Vslente

-Slnger and songwrlter from

Mlnas Gerals whose sambas alsobecame very popular througltthe radlo.frIorefr:a da, 9lllocr

-,9trnger and songwrtter who

lnnovated a style called sambade breque, ln whlch the slngerwould stop and charactertae thesltuatton ln the \ntcs.Ary Banosot4omposer of Aquarela doBrastl as well as m€rny lnterna-ttonally recogntzed Braztltartpleces. Collaborated extenslvelywltlx other composers. Htscomposltlons were recorded bYmany Brazlltan as well as Arnerl'can artlsts.Illoel Rosc---Gultarlst wlth maJor lnfluenceln the samba cangao stYles thatled to the Bossa Nova'Brdgulnltc

-Popular songwrlter of the

carnaval sambas.

t22

Dortrarrl Cagmml-4omposer, gultarlst, vocallst.Internatlonally reno\pned andlnnovatlve composer of many ofthe most well-known Brazlllanstandards.Lamarthrc Baho

-Famed composer of many

samba cangao standards.Nelson Cala4ulinho

-Famed cavaqulnho and gultar

player assoclated wlttr thesamba de morro style. Composerand lnnovator of an approach tothe gultar.Sitas dc Ollp,elro,.

-Famed composer of manysambas de morro.Clemenths dc Jeeus4onsldered a llvlng legend whorecorded her flrst album whenshe was ln her late slxtles. Sherevlved many obscure Braztltarrpleces from many styles.Mrrrtfitho da,Vlln

-Well known composer andleader of famous Escolas deSamba. Innovator of approachesto the Escola's Enredos of theslxtles.% Ketl

-Composer of many carnaval

sambas. Stgnlflcant ftgure ln thesamba de morro movement ofthe l95O's.Pa,ulttt p dc Vialrr

-MaJor samba ftgure and

founder of the Escola de SambaPortela.

Fannons Escolat dr SanDc:

-I)rylf*;a Fo;Lar

-Estagao Prfltneba, bManguclra

-Vlla IsrrDc;l--Arranco ds ErngeJtro

Dentro

-PortelaeullontDo-Impalo Sarano

Various ottrcr Attlttt*TheJollowtq ane gnaat Brmrll&,nartlsts urhose mustc has bentnfluenced bg the manysongsfglles oJ BruzlL Thelr muslcls not alwags erclustuly samba"

-NtrraLgd,o4larrr lVuncr

-Feltfn &tvallw

-8tls Regbu

-Marla Betltgirth,4o;lColeta4h[co Buataur4iltonNa.*brnb-DJaoan-Iaan Lhts4actanwVcloap

-Iorge fun

4ltfu,rf;oCU

-Tonlnho Ma

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 Europcana;d songstyles, n d hra ott -t stctane tn Brazil. Early Choro muslc was stjrrrqai to the-

Uma"oa -a n g ityies that vrcre de\rclophg ln New Orleans. Both ortdbtted the ass|milauon of thcAfrlcan culture 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!' andpercuoef6n. Thts-tnstrum;ntauon has grourn ov€r ttme to tncorporate all the hstrumente 5rou woufd

ir"a1' t , rrr .-.tsUc or el€ctrtc Jazz gorip. It feat ttes soptttsUcated harmonfc progrcsslonE modul'a'

flons, and dfficult melodrc passages. rradtuonally, the fluust would trngrovtse m9l9{ce and therhythm tnstruments would

-try 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

"pectffcatly for the challenge of performing ttre song and tlre dare bctsccn

the jolofst and the other mustctans. 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 fnnature,-these patternslecode pst a framework. thtnk of Urem ltke a Jazz groorc. Y, ou can do wtththem 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 practlet!.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 Justplay ftee$ wfth a varlety of rhythms and follow and hteract wtth the |mprovisauon'

t24

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

Bafa6Introduction

The cmccptual appnoach for the Bara6 and rclated styleE on the drum rat Lr much ltle thet brthe Samba. It rs ako a otyle whos€ patterns are barrc frameworks from whlch you dctrclq tfrc ftcl hwtratercr muslcal sltuauon you are tn. Agah, much llkc the approach to playtng Jatzdou hrvtaeveral q|lres of patterne you uae and the rert lr tnproebauonal. If thc dhratdr Fr rt !r !r rFtdf€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 rcqubetheee t1ryes of rhythms. Agah, go back and rerncr the percusslon parts. Llrtcn to r. muclr d thtr Cyleas 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 prttctnon the drum set dlfferently than you normally do e.n glve you totally new groovr., Mrny tlre. tltcsucklng patterns remaln the same. You Just movr them to dlfferent sound lourccl and the fcclchangee completely. Thfs seems obvloue but you'U bc surprtsed at holv many ncs thhga Srou rtll cmeup wlth by worldng wtth thls. Along the same llnel, you wlll also often kcca the

'.me rhyo|tntc pdtcrn

but you fill suck lt dlfierently. Thls wtll also gtve j,qr a completely dtfierent feel and rct d padullt&saround 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 pustart 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

Baia6Basic Drum Set Approaches

Follov/ng are vartouo ap'proaches to the Bata6 rhythm. Ltke the other rh5rttrms, thcrc arc baslcframeworks vrhfch denEfy tt, and many dlfierent walts lt can bc played. Get famfllsr wlth fts baslcpattcrns and a few grooveo tnat wort fu 5mu so 5ou can funcUon |n thls stjte. Onc€ thl3 ls dqrc' you-can

start opandfng-to the other approaches. It ls tmportant that you tmprovlsc to becomc cotnfortablewfth vartauqrs, and to e,eand ]tour vocabulary.

Tlre foundaflon for the Bata6 ts the followhg pattern, wtrfch ls played on tle bass drum or acombtnaUon of the bass drum and tf1e floor tom It ls based on the rhythm played on the Surdo orTabumba4h'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] # ntryxfies- It

Along wlth the bass drum pattems on thc prcvrous palie, pu can play any q|c d thc fllil|nghl-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 baslctlme 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.rntcandbass 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. Youare golng througlr accenflng one elghth note at a ttme. Nottc-e how each onc fccl. rrd tFr ltchanges 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.

3.

t27

lBrazi[ion lDrum Set Kfiytfrrns

Here ts the stlcktng wrltten out wtth the accents:

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

5.l.

6.2.

7.3.

8.4.

r28

lfuial-lbsic lDtlrrlrr ft ^?frhs

Ne)d, I suggest pluylng some phrases wtth thc hends ln unlson<ltmbal .nd rnrrHa tradone wlth the flrst Sambas pres€nted. ThlE ls not d y fd t€clmfcal ercrclrc. but fr onc of thc tq|| toplay the Bala6.

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

l.

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

I

'ne '[] ' ? lJlJ i-Illil

'tuJ J I I lufr'lIlulil

2.

3.

4.

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 thesnare 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 Improutsatlon sectton that you dld wlth the Samba rhythms. Thts should g[ve you a lot of vartaflons. ffyou want more wrltten combtnatlons to work wlth, use all of the two bar Samba and BossaNova rhythms.

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

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

l.

2.

130

lfuiad -ll*,.ir. lDrlon Sct AlFwIrs

The ne]d approach lnvolves a thorouglr worllng of varlous osunator ln the handr. Althouth nottradluonal 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 orthatoE|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 orboth hands, playhg flgures ln unlson, and breattrg thhgs uf-eo that d y thc mudc etrd ]Iourlmaglnauon are dlctathg what Jtou play.

Followlng ts a Ust of all the flfteen posslblc one beat combttauons worklng from onc h!tr notcto lts four elgbth note subdlvlslons. You can alro do thls worktng from one quartcr notc to ltr fourslxteenth 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. Thlsmay 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 thlrstart on number two.

2. Take one ostlnato at a tlme ln the rlght hand, and play all the other osttnatoc wtth ttrcleft hand. When you've played all flfteen agalnst the one ln your rlglt hand, prrctloetmprovtsIrg phrases whlle keeplng the osttnato ln your other hand. Work unfll Jpucan tmprovlse freely wtthout changlng the ostlnato pattern. Ag a supplemcntalexerelse, you can read rhythm ltnes ltke those ln the ModernRadtngTextlnlllbyLouls Bellson and Gtl Brelnes, or Sgnmpctton by Ted Reed.

In the course of thts exerelse you wlll ffnd that some rhythms feel rrcry natural, andsome feel very awl<rnrard. Thls may only be a technlcal llmttatlon at flrgt, but lott wllldeflnltely find that some lend themsclvtr more to the Bafa6 feel than otherr. Thorethat don't feel ltke they work probably don't, and you should nelrcr try to forct tlremlnto mustc; they'll probablyJust be a techntcal workout for you. Thls ls a long termexerclse. You'll get much more out of lt lf you're patlent and take your tlmc wlth tt.

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 therlgltt hand.

4. Next I suggest you ueateJked patterns<ne bar ln length at flrst, then longerphrases-by combtntng one osttnato tn the rlght hand, wtth a dlfierent one tn thc lcft.These ean be great tlmekeeptng patterns. Although you've been practlctng rnanyways to play varlatlons and lmprovlse, keep tn mtnd that when you'rc plalrlng wtth artensemble, most muslc requlres repetlttve parts. Make sure you work on malrtng ell ofthese patterns groove. Some oramples of comblnattons follow the rhythmt on the next prje.

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

rnoJ flJ Jlil

iE+ , fTJ *JTJ il

8.

9.

lo.

ll.

12.5.

13.

rne fi+,rl t il

6.

t4.

15.

rne J-TTI iTTlil

t32

lfuiod-lhtic lDrutt.tct nntwfias

Here are some e><amples of two osttnato pattcrns put together to creatc a Urrc H. ftc pc*tlt-Ues here are endless when you use dlfferent rhythmlc cmbtnauons and cchcatrettaE. .tu.t Dacf rrtytwo osthatos to get started, Later you can combhc longpr phrases. knprorrbc.

l.

2.

3.

4.

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, andthey make great Baia6 grooves.

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

E* J-l-Ill El J-I-:il

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

lA.

38.18.

48.

t34

Signiflcant Artists and Suggested Llgtenlngtutol6

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, Ttrereare 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

-One of the most renowned andlnfluentlal composers fromBahla. Hls songs have beenperformed by many of Brazll'sgeatest arttsts as well as sungby hlm.Lu|c Gonzaga

-Most reno\ilned ftgure of Bala6muslc. He was a composer,slnger, accordlonlst and culturalflgurehead from the north.Recorded the song Batad ln1946. Thls became the name forthls new style that he practtcallyrelnvented.Lamplfro

-Accordlonlst, stnger and

outlaw from the north. He was ahero-bandlt figure who lnsplredLulz Gonzaga and others.daclcson do Pandclro

-Slnger, songwrlter and percus-slonlst. Master of two st5rles,Coco and Embolada.Domhqulnhos

-Accordlonlst, songwrlter. Well-

known tn the style called;forro.,Ioai fu Vale---Songwrlter and stnger. Al-thouglr not well-known, hecomposed many pleces that havebeen recorded by famous Brazll-lan artlsts.

Flthos dc tuttdJn;l

-Afox€ goup of Candomble

devotees that orlglnatcd around1950. They were named afterMatratma Ghandl and were atrlbute to hls message of tnde-pendence and non-vlolentreslstance. The goup and thelrmuslc had a strong resurgenoeln the seventles wlth the re-newed lnterest tn Afrlcan herl-tage.Olodum

-Formed ln the early elg[tles ln

Bahta, thts Btoco can almst bccalled a soclety. It lg prlmarlly afolklorlc goup that har tnte-grated many styles wlth thestyles of Bahla. It has a popgroup connected to lt and arrorganlzatton that sponsorsforums for the awareness ofAfrlcan culture tn Brazll.AJros e Afoxex

-Excellent recordtng of a collec-

tton of Afro-Braztllan muslc frorrthe northern reglons.

Other art stt plror mutbhrcludcs t4f|lrrcrtcrc tlvnir 3irlnorthern cty&ar:-,-ilargarethUenry-Hermeto

Pacrrogll

-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 ftomthe 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 ofAftrcan ldngs.

Followtr0g is a Ecore of the percusston s€cuon parta for the Maracatu. As J|ou can cce ft rclatesv€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'|lrgthree bass drum patterns. lihey are the same ones used ltr tlre Bala6. On the foUotplng page f! acommon varl,auon. Play the hf-hat on beats two and four, one and thrce, or on all four quartcrc. nroand 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 dreof the other patterns.

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

Another ver5r efiecflrre way of playhg ttrle r$ie ls to kecp an osttnato stth pur feet, (u* thcBafa6 foot pattern), and play the followtng. Thclc prttem8 contaln the snarc drum part, dorg rlth keylnflectlons of the zabumba drum played on thc to|tr!.

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, {orvartiattons), 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 verytSplcal two bar phrase.

RLRL RLRLRLRLBRR

L

LR

t37

Marcha

Thts lttarcho ts dtfferent ftom the tunba Marcl1e,. Although n rs alEo rooted, Xr part' ln themilttary parade traduons, thfs eongstyle3' roots are tn the notheact of Braal. Thfs dance and rhythmf 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 thepratos, (the cymbals). Play thts wtth your bass drum and ht-hat on the drum set. The flrst cxamplcls the most baalc pattern. The second ls a common varlauon.

The ne:d two s<amples are patterns for the oaln (enare drum). Play thes€ on yout snarc ovcrthe foot pattef,trs notatcd above.

l.

2.

1.

2.

138

ftYoo

Fruvo

The Frevo ls a stjrle derlved ftom the Marche. It ts an lnstrumental and dancc lon$tylc frdrRedfe that evolved ln the early lgoo's. Lat€r, ln thc l97o's, ft waE tntegretcd wlth meny rck .ryh..Tte name comes ftom the Portuguese word..fenrr, whldl ln Engllsh meanr to boil. Agdn, tt r. tutcommonly pla]rcd durhg Carnaval. It is a fast tcmpo rhythm whlch fncludc! hrtrumcntd chr|lcnaagfor the playero and whose rock trstmmental lntcrpretauons sometlmes bddcr on frcnzy. Althor$ thedrum s€t parts are relauvely slmple, the enurc .osurtjde can be qulte eynqatcd. Ttrc firrt oq!|cshows the bass drum and cymbals. The second and thlrd er<amples show commdr varlrtlq[ ],ou crlr,play on the bass drum. Drample four ghowe a full &um set part. Bass drum vartetlona qrc, tn, rndthree, can be played under the snare patterns. E(amples f a tbrougfr 4a are common

'rrrlc Fttc ra.The bass drum can also double some of the acrrntr played |,1 the hands |n pattdnt f a throqlr 4l

2.1.

3.

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

139

Catarete

Thls songstyte ts derlved from the Indlan culture of northeastem Brazl. It ls t|Itr sr to thcBala64fke 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. nrcblggest dlfier€nce on drum set ls ln the ba88 drum patt€rxr'

Thls ls a drum set pattern for the Catarete.

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

3.2.l.oo

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

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

5.4.

140

^Ft6

Afox6

lhre lg another rhythm ftom Bahla and thc Scncral northcastern rcghl. Tltc lrrle rt.t.Afrlc.rrpopuhtron of tlrrs regtrcn heavtly tnflucnced thrr rcrSrtyte. Tlrc $o* has meny rhlthDrc rrrLtbrr|rand dertvauons. Its rbots are |tl the rltual musrc d Cllldomble, wtrfch ls dcrft ld ftm thc Ycubrculturc |n Braztl. Yoruba stem8 ftom the Ntgerlan culture. It ls mainly pcrformcd by Bfu lfiegroups of mootly black or mulato muslclans who dcal prlmarlly wlth the Aftlcan cultutc d E .d|l.niusic. tlre tradrflonal rnstruments of Afox6 are thc three Ataboque-the rum, rumpl end lc-thcgongu€--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.

l.

2.

3.

141

'ffu Essena of Arazi[ion lPerausion and Drwn Set

Glossary

The deltnlflons here are pres€nted ln the contq<t of the muslcal gtyles r€ferred to |lr thls bootand may not necessartly be the complete or only defntUon of the t€rm'

Qfoxd (stglc)

-A songstyle and rhythm dertved ftom therltual muslc of Candomble (the Yorubantrlbes and relt$on of Ntgerla) played maxrlydurtng Carnaval ln Salvador, Bahla.

Afox6 (fiwtrunent)-A gourd unapped wnh beads that arestrung on chords.

&ag6-A number of dlfferent slze bells, (usuallytwo), welded together by a fleflble metalrod. Of Afrlcan origln. Very common inCarnaval songstyles.

&tto-A whlstle. More lndlgienously, a Sambawhtstle played by the baterla's director lnan Escola de Samba to cue the sectlons ofthe performance.

Ataha4ue-The conga drum lndlgenous to Candombldmuslc. Name of the conga drum in Brazll.

Ec.ftfis,-$tate ln northeastern Brazll wlth a largeAfrlcan populatlon. Area where Africartmuslcal lnfluence is most prevalent.

tula,l6-The muslcal songstyle of Bahl,a. Contaln-lng much Afrlcan lrnfluence, lt ls character-lzed by lts Zabumba rhythm, triangle andrrarlous harmonlc and melodlc characterls-tlcs.

Balxo-Bass {guftar).

Baqueta-Drumstlck.

Elatertrr-The percusslon sectlon of the Escola deSamba. A drum set.

Batucada-A Samba played wlth only percusslon. Apercusslon Jam.

Berlmbau-The key lnstrument that accompanlesCapoelra music. It ls a wooden bow wlth ametal strtng and a gourd used as a resona-tor. It ts played wlth a stlck (that strikes

rhythms on the strln$, caldrd (whlch areshaken, also for rhythm), and a coln heldagafnst the metal strlng (used to vlbrate thestrhg and ereate the unlque sound on t}reinstrument).

Bomho-Ttre Brazlllan bass drum. (The largest ofthe bass drums.)

Bossc llloua-Ttre style of muslc whlch developd tn thelate l95O's ln Fllo de Janelro. It lncludedsome elements of the Samba, but lntro'duced a unlque, subtle vocal style and anew rhythmtc style on the acoustlc gultar.The harmonles were lnlluenced by bothEuropean and Jazz muslcs.

Co;fx;a-.Snare drum.

Co;ixeta-Wood block or temple block.

Candomhle-Afro-Brazlllan rellglon derlved ftom theYoruba (West Afrlcan/Ntgertan) culhrre.Practtced mosfly ln Bahla. It lncorporatesthe Atabaque drums (Braelllan congadrums).

Capoelra-Dance and Marttal-Art form of Afrlcandescent, (from the Bantu culture of Angol,a)'practlced ln the north of Braall. It ls accom-panted by the Berlmbau.

Ctrrtoca-Term used to descrlbe a person or anobJect from Rto de Janetro.

Colrnaao,l4riglnally a rellgfous (roman catholtc),celebratlon takxrg pLace on the four daysprlor to Ash Wednesday (whlch marks thebegtrentng of Lent, a perlod of fastlng andabsttnence). The Amerlcan verslon urculd beMardl Gras.

Cateretd-brstrumental and dance songstyle dertvedfrom ttre Indtan culture of nortlrern Brazll.Tradtttonal dance accompanlment ls twovlollns.

r42

lfu Essencc of tsrui[ion gerausion an[ Drun Set

Iilorro-As tn Sambc de Mono (Samba of the htlls).Descrlbes the hllls around Rto where mostof the;fizuelas are located and where most ofthe developments of Sarrba took place.

or"{tca-A delty of marry Afro-Braziltan rell$lons.

Pandellro-Ttre Brazlllan tambourlne.

Partldo Alto-Type of Samba wtth a call and responsevocal style and a unlque rhythm that uasan ofrshoot for many Brazlllan-Funk feels.

Paarfsta-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 lnsome Escolas.

R'cc',orwo-Instrument made from metal or bamboowtth rld$es. Today tt ls metal wlth sprtngsstretched across lts length. It ls scrapedwlth a sttck and produces the sound of ascratcher. Most often used by Escolas lnCarnaval.

rcprtnlque, (reptque)-Trro-headed, hlgfr-pltched drum used lnEscolas de Samba to glve cues to theensemble. Also used as a solo feature lnrrarlous contempor ary Bt azlllan styles.

Samh-The most famous (along wlth Bossa Nova)and lnfluentlal Brazlllan lnstrumental anddance-style. Most common tn duple meterurtth vocal choruses and syncopatedorchestratlon.

ffi-Samba form developed ln the early 19OO's

by the mlddle and upper class muslclansfeaturlrng the lyrlcs and a more subduedlnstrumental approach.

sambcr etwedo-fire enredo ts the thcme'sornba played byan Escola durlrng carnaval.

Surdo-The bass drum of the Samba. Comes lnthree slzes. Played wlttl a mallet and thehand.

t..ia;forlnt-Small tambourlne-shapcd tnctmment.Pbl€d wlth a stlck (sometlm muld-prcged!and the hand.

Iatu-Songstyle ftom the northeart. Predec=lu tothe Bala6 styles.

YorzDn,-An Afrlcan culture ftom Ngerle wtc mudchd geat lnfluence on the doelopocnt ofBracillan muslc.

Ma-rt bass drum used tn the Bal86 and ottsr$rleo from the north of Braztl.

t44

ghsssy

&na4uitrJro-Small four-strlnged gultar commonly usedtn Samba. Stmllar to a ukelele. Strlngstuned to D-G-B-D.

Caxlxl-Small weaved baskets fllled urlth beads orpebbles. Used as a shaker along wtth theBerlmbau ln Capoelra muslc.

Cltrco;lp.-Metal (sometlmes wood) canlster shakersusually fllled wtth beads or pebbles or sand.

Clpro-Instrumental style developed tn Rto tn thelate lSOO's featurtng fast tempos, challeng-tng melodtc and harmonlc passages andlmprovlsatlon.

Coeo-Instrumental and dance songstyle ftomthe northeast.

Conga'da.-Afttcan and Afro-Brazlllan processlonaldances.

Culccr-Also called llon's roar or ftlctlon drum.Metal or wood canlster wtth a thtn postattached to a drum sktn. Produces agroanlng or squeaktng sound. Also used tomlmlc hlgh pltched sounds of the humanvolce.

Entrudo-Early form of carntval broug[rt to Braztl bythe Portuguese whlch tnvolved a riotousapproach to the celebratlon.

Eseola dc Srrrnbrr-Organlzatlon or muslcal soclety thatparades ln carnaval as well as sponsoringother soclal events ln the cornmunlty lt'sfrom.

Faoela-Run dovrn or slum nelglrborhood.

Fo116-{erm sometlmes used to descrlbe a dancewhere northeastern styles such as Bara6are played. Generlc term sometlmes used todescrlbe the styles themselves.

freoo-Instrumental and dance songstyle fromRectfe; derlved from the Marcha.

Mcote-Songstyle that ls a mlxture of reggae andAfro-Brazlllan styles from the north.

Frlgtdelra-Percusslon lnstrument made of fr5ttngpans welded together and played wlth asflck. Functlons llke the qgo-go be[s.

Ganud-Weaved basket shakers fltted wlth beade.

Hafutwra-Cuban songstyle that had an lnfluence onthe development of some Samba as well asother Brazlll,an styles.

Ilexd-Afto-Braailfan rhythm wlth roots tn theYoruban culture. Usually aesoclated wlththe Afox€.

dortgo-T!rye of Samba from the southern parts ofBrrazll.

Innhads-Songstyle and dance style that combtneevarlous rhythms from Braztl and theCarlbbean.

Lttrtdu-Songstyle brouglrt to Brazll by the Bantusliaves from Angola. Influenced the earlydevelopments of varlous Brazrlfsn styles.

Mrrracatu-Processlonal song and dance style dertvedfrom the congada- Developed tn Reclfe andnelg[rborlng reglons.

March;ri.-Song and dance style of northern Braall.Early developments were lnfluenced bysome European and Amerlcan two-beatdance styles.

Ifrarcha,-Ranrcho-,Slower verslon of the Marcha wtth morefocus on the songls melody.

Max|l,e-Brazlllan songstyle and dance developed lnthe late lSOO's. It was a comblnatlon ofvarlous European ballroom dance stylee aswell as the polka, tango, Cuban habaneraand the Afrlcan lundu.

Illestre-Sala-Master of ceremontes of the E*ola deSamba. Marches around thre furta-Bandelm(flag-bearer) ln the Escola's parade.

IWestre-& Bo;terta-The leader of the percusslon sectlon of theEscolia de Samba. Often the muslcalconductor for the entlre enscmble.

143

ELO3920CD Book & CD US 529.95

, ll llLrirl||!|lilr I rJrJilllll,

158 N 10 0 't 92-2024-X|SBN 1 r c',q t, 7692-2024-6

lllj Hl Jllllltr tL|l rlirrirrirfiri