canto pro tempo: the joys of samba

Transcription

CANTO PRO TEMPO:
THE JOYS OF SAMBA
Canto Pro Tempo is Portuguese for “I sing for tempo”
No music reading skills required!
Isabelle St-Amour
with
Samba Ottawa
Dec. 21st, 2007
Revised April 2009
Table of Contents
Background on Brazil ................................................................................................................. 4
Music History ............................................................................................................................. 5
General Overview: .............................................................................................................................. 5
Bossa Nova: ........................................................................................................................................ 6
Samba Schools and the Carnival: ......................................................................................................... 7
The Batería ................................................................................................................................. 8
The Agogô .......................................................................................................................................... 8
The Berimbau...................................................................................................................................... 8
The Caixas .......................................................................................................................................... 9
The Cuíca............................................................................................................................................ 9
The Pandeiro ....................................................................................................................................... 9
The Ganzá and Shakers...................................................................................................................... 10
The Repinique ................................................................................................................................... 10
The Surdo ......................................................................................................................................... 10
The Tamborim................................................................................................................................... 11
Learning Samba and Batucada-X .............................................................................................. 12
Structure of a Percussion Jam............................................................................................................. 12
The joy of samba – lesson 1: Learning Samba .................................................................................... 13
The joy of samba – lesson 2: Heartbeat and layers .............................................................................. 14
The joy of samba – lesson 3: Highs and lows...................................................................................... 16
The joy of samba – lesson 4: Putting it all together for Batucada X ..................................................... 17
The joy of samba – lesson 5: Putting it all together for Batucada X (continued) ................................... 18
The joy of samba – lesson 6: More Batucada X .................................................................................. 19
CD Guide ................................................................................................................................. 20
Track 1: Batucada-X, Samba Ottawa.................................................................................................. 20
Track 2: Ano Novo, Samba Ottawa .................................................................................................... 20
Track 3: Soca Samba, Samba Ottawa ................................................................................................. 20
Track 4: Magalenha, Sergio Mendes .................................................................................................. 20
Track 5: Berimbau, Olodum............................................................................................................... 21
Track 6: Girl from Epanema, João Gilberto and Stan Getz .................................................................. 21
Appendix: Lessons 2 to 6 for Ano Novo............................................................................................. 23
Canto Pro Tempo: The Joys of Samba
Background on Brazil
Background on Brazil
Brazil is the largest and most populous
country in South America. In 1822 Brazil
became a nation and in 1889 a republic.
Brazil continues to expand into its interior
with development in industry and agriculture.
Brazil has large amounts of both natural
resources and labour and is now South
America’s leading economic power and regional leader. Unfortunately there still
remains high unequal income distribution among the population which is causing
much conflict and social and economic problems.1 The following are important
background facts that have influenced Brazilian music: (1) Brazil has the largest
population of Catholic people in the world; and (2) Brazil also had the highest
number of slave immigration during the slave trade.
1
CIA- The World Fact Book. CIA. “Brazil.” Dec. 20th, 2007 [https://www.cia.gov/library/publications/the-world-
factbook/geos/br.html]
4
Music History
Music History
General Overview:
It was not until after the 1930’s that Brazilian folk and popular music could be
clearly distinguished. The culture of the cities and towns were all rural oriented
and therefore no separation between the two types of music could be made. The
continued growth of urban centres in the 1940’s made folk and popular music
easier to distinguish because of the development of popular urban market centres.
“Since the latter part of the 19th century Brazil has developed one of the richest
and most varied and unique traditions of popular music in Latin America.”2
During the 1960’s several trends have emerged from Brazil which have become
influential all over the world including North
America, Europe, and Africa. Brazilian
popular music cannot be defined as one type
or genre but instead is different types of forms
of expressions associated with specific
regions, historical periods, as well as social
classes. Brazilian music has been influenced
by dance music, jazz, rock, and Caribbean popular music from places like Cuba,
Dominican Republic and Jamaica.
Samba dancing was labelled as such by leaders of small town brass bands. The
dance itself did not differ much from the tango or the Brazilian tango with the
exception of a more systematically syncopated accompanimental rhythm. “It is
quite likely that the folk samba, a round dance involving dancing couples
performing the umbigada in typical round choreographic figures (especially
associated with Rio de Janeiro and Bahia), was the model developed in the urban
areas. The call-and-response performing style and corresponding stanza and refrain
alternation cultivated in the samba de morro (from the poor hill areas of the city,
known as favelas) and the partido alto (brought to Rio from Bahia at the beginning
of the century) subsequently influenced numerous urban samba styles developed in
the 1920s. As a generic type of urban music, the samba is essentially a vocal dance
2
Grove Music Online. “Brazil: Popular Music.”Dec. 20th, 2007
[http://www.grovemusic.com.proxy.bib.uottawa.ca/shared/views/article.html?section=music.03894.3.3#music.0389
4.3.3]
5
Music History
genre, with a few exclusively instrumental subgenres such as the samba-choro and
samba de gafieira. The urban samba became established in Rio during the 1920s.”3
Samba music is not only composed for just dance routines but is also composed for
the Carnival marching as well as for nightclubs. Samba music and dancing also is
a clear representation of the strong social stratification prevailing in the larger postWWII cities. This is evident in Rio de Janeiro especially, where the urban
geography has created a pronounced social separation with the poor living in the
northern areas or hilly ghettos and the rich along the beach districts such as Leme
and Leblon, where in the 1950’s the famous bossa nova movement was born.
Bossa Nova:
The bossa nova [track 6] is not a special separate genre of Brazilian popular music,
but instead it is a characteristic performance style of established genres. The very
first recording of bossa nova was in 1952 in Rio by by João Gilberto who is one of
the earliest and most influencial bossa nova figures. Those who were involved
with the bossa nova belonged to the middle and upper-classes and had combined
the popular samba music with various American jazz artists. These bossanovistas
wanted to renovate the Brazilian popular music with a new innovative form of
expression. “In effect, bossa nova represented a revolutionary innovation only in
3
4.3.3]
6
Music History
its new rhythmic rendition of the samba beat, the nature and quality of its lyrics
and its general performance practice.4
Samba Schools and the Carnival:
Samba music is generally performed with Samba Schools
that are located in the urban centres of Brazil and contain
the people from that community. They are usually found
in the favelas, the slums or ghettos, of cities such as Rio
de Janerio and São Paulo. Samba Schools gather to play
and dance Samba music and will enter the world’s largest
and most famous procession, the Carnival parade. The
word carnival originated from the Latin words “Carne
Vale” which translates to “Farewell to the Flesh.”
Carnival was originally the Roman Catholic festival
leading up to Ash Wednesday. This festival of indulgences was the one last gasp
of music, food, and alcohol before Lent, the 40 days of personal reflection,
abstinence, and fasting until Easter.
4
4.3.3]
7
The Batería
The Batería
The Agogô
[track 1, 4:34-4:51] Agogô means gong or bell in Yoruba and is based on the West
African Yoruba single and double bell. It has the highest pitch of the batería
instruments and can be made with up to five bells. Originally the agogô was used
in religious ceremonial music. To play the instrument hold the bells with your
non-dominant hand with the connecting rod pointing
towards your body and your thumb wrapped over the
beginning of the neck of the smaller bell. Your other
fingers should be wrapped on the beginning of the
larger bell’s neck. In your dominant hand hold the
stick 3/4 of the way with the longer end connecting to
the bells as you strike them. Keep your hands and
arms relaxed while the wrists do the motion and not your entire arm. A two-bell
Agogô can produce 5 sounds: the high bell struck normally, the low bell struck
normally, the two bells squeezed together, the high bell struck while damped by
being squeezed against the low, and the low bell struck while damped by being
held against the high.
The Berimbau
[track 5, 0:00-0:09]The berimbau is a single-string percussive musical bow with
ambiguous origins, although a similar instrument is
played in the southern parts of Africa. The berimbau
is an essential part of the martial art form of
Capoeira (as seen in the picture on page 5). It
consists of a wooden bow made from biriba wood
grown in Brazil, a steel string taken from the inside
of an automobile tire, and a gourd that has been dried, opened, and hollowed out.
To play this instrument, hold it in one hand with the middle and ring fingers
wrapped around the wooden bow and placing the little finger under the gourd’s
string loop. Hold a small stone or coin between the index and thumb of the same
hand that holds the berimbau. The gourd should be resting on the abdomen while
the other free hand holds a small stick which will strike the string while the stone
8
The Batería
or coin moves back and forth to change the pitch. The hand holding the stick often
also holds a small shaker. Moving the gourd to and from the abdomen varies the
resonance and produces a wah-wah effect.
The Caixas
[track 3, 3:53-4:09] Pronounced Kaisha, the caixa, is a samba snare lighter than a
normal kit snare which produces a more crisp sound
when hit, if tuned correctly. To play this instrument,
strap it around you, and strike the head of the drum, not
the snare strings going across. The motion of the stick
should be coming from the wrist and not the elbow. The
forearm should be parallel to the ground and the elbow
should be at a 90° angle. The hands should grip the
stick with minimal tension. Brazilian technique is less
rigorous than other snare disciplines in requiring a left, right, left, right ... action
and it caters to players using their dominant hand for accents while leaving the
other to fill sixteenth notes. This contributes to the swing of samba.
The Cuíca
[track 4, 0:44-0:45; 0:49-0:50]The cuíca, pronounced kwee-kah, is a
friction drum that produces high pitched squeaky notes. To
play this instrument, hold the cuíca under the non-dominant
arm at chest height and rub the thin bamboo stick attached
inside the drum in the centre of the drum head with a wet
cloth. Pitch changes can be created by applying pressure with
the thumb of the non-dominant hand on the skin of the drum.
The Pandeiro
The pandeiro is a type of a hand frame drum
similar to the tambourine. The pandeiro, unlike
the tambourine, can be tuned, and the platinelas
(round metal cymbals) create a crisper sound. To
play this instrument, hold the pandeiro in your
non-dominant hand while the dominant hand
strikes the head alternatively with thumb, fingertips, heel, and palm of the hand.
9
The Batería
The Ganzá and Shakers
[track 3, 1:22-1:37] The ganzá is a cylindrically shaped rattle filled with beads,
metal balls, and/or pebbles. To play this instrument, hold with dominant
hand in the middle while jolting away and towards your body while
keeping the ganzá parallel to the floor. The shaker is a metal frame
which holds small round cymbals which
produce a crisp sound. To play this
instrument, hold the frame by the handles
and jolt it away and towards your body
while keeping it parallel to the floor. Note that both
ganzás and shakers need to be muffled or stopped
slightly before a song ends to create a clear and clean finish.
The Repinique
[track 3, 0:00-0:02] The repinique is a side drum played with both a stick
and the hand. The role of the repinique is to support the surdo as well
as cuing entrances and breaks. To play this instrument, use a strap to
hang it to the mid waist. Hold a snare drum stick with the blunt end
making contact on the head in the dominant hand. The non-dominant
hand will also strike the head of the drum accordingly. A range of
pitches is produced by varying how far from the centre the drum is struck with the
stick as well as by using rim shots and by the use of the hand.
The Surdo
[track 3, 5:30-5:50] The surdo, the heartbeat and driving force of the batería, has the
lowest pitch of the ensemble. The surdo is usually about 60 cm deep and can vary
between 16” to even 29” in diameter. A surdo section has three separate parts
played by the primeira, segunda, and
terceira. The
largest in size
primeira (first) is the lowest pitch and
of the three and always plays on beat two
providing the
pulse of the music. The segunda (second)
usually has a
more complicated ornamented part which is
a response to
the primeira, is tuned a fifth above the
primera, and
always plays on beat one. The terceira
(third) is the
10
The Batería
smallest and highest-pitched of the three surdos. The terceira usually plays the
most ornamented and complex part and provides fills to the pattern and a swing
feel to the rhythm. To play this instrument, suspend the surdo with a strap to
slightly below the waistline and strike with a mallet while damping with the nondominant hand.
The Tamborim
[track 3, 0:48-0:50] The tamborim is a frame hand drum about
6” in diameter and has a high and sharp timbre. Virado is a
playing technique commonly used on the tamborim which
involves rapidly flipping the tamborim upside down while
striking it, allowing the player to perform fast passages.
The tamborim can also be struck on the rim. To play this
instrument, hold the tamborim in the non-dominant hand with the thumb resting on
the metal rim and the other fingers curled under the rim. Optionally the index
finger can be used to apply and release pressure on the underside of the head to
vary the pitch. With the stick or baquetta in the dominant hand, strike the
tamborim slightly off-centered of the head. A baquetta is a grouping of multiple
plastic sticks that produce multiple hits on the head.
11
Learning Samba and Batucada X
Learning Samba and Batucada-X
Structure of a Percussion Jam
An entrada is an entrance. There are two types of entradas. The first is used by the
maestre to start or open a performance. [track 1, 0:00-0:19; track 2, 0:00-0:35] It is usually a
call and response between the repenique and the batería. It is variable in length
and open to improvisation using a range of stock calls. The second entrada is
section specific and is usually played at a specific time near the beginning of a
samba or after a break. [track 2, 0:40-0:45 tamborim] It consist of a predefined pattern
played typically on the tamborims.
A chamada [track 1, 3:22-3:24; track 2, 0:36-0:38] is the call to start the samba played on the
repenique by the maestre. The chamada is quick and is the signal for the surdos to
begin the samba in earnest. A chamada may be the last phrase of the big entrada
and it may also be used to terminate a break and return to the regular samba.
Breaks [track 2, 1:29-1:37] come in many forms, short, long and provide an opportunity
for interpolation of other rhythms such as funk or for speed changes. Breaks are
signalled with hand signals and called in by a combination of apito (a three tone
whistle) and/or repenique. [track 1, 4:33]
Finishes are called in the same manner as the beginning of the breaks. [track 2, 2:322:35]
12
The joy of samba – lesson 1: Learning Samba
Hand clap & clave pattern exercises
Son clave 3-2
un deux trois sam - ba
x
x
x
x
x
Bossa Nova clave
three four five one two
x
x
x
x
x
Rumba clave
x
x
x
x
x
‘Mystery’ pattern with notation for closed x and open o notes
x
o
x
x
x
o
o
13
The joy of samba – lesson 2: Heartbeat and layers
The surdo heartbeat, ganza & caixa layers
1
2° surdo
2
3
4
2
3
4
o
1
2
3
4
1
o
X
2
3
4
x
x
X
o
1° surdo
Ganza
1
x
x
X
X
o
x
x
X
X
x
x
X
X
Samba reggae surdos [track 5]
pop
1
2
piz -
3
4
1
3° surdo
2° surdo
za
2
3
pop
4
1
have an - o - ther
2
3
4
o
o
1
2
3
4
o
o
o
o
o
1° surdo
o
o
“Here comes the judge…” [track 1, 1:01-1:13]
Part 1: Play this twice:
High
x
x
x
x
Low: surdo
High
Low: surdo
x
x
x
x
o
x
x
x
x
x
o
x
x
x
x
o
14
Part 2: The triplets!
High
x x x
x x x
x
x
x x x
x x x
Low: surdo
High
Low: surdo
o
x
x
x
o
15
The joy of samba – lesson 3: Highs and lows
Clave pattern highs and lows
1
3-2 clave
2
3
x
4
1
2
x
3
4
1
2
x
3
4
o
1
2
3
4
o
“Yes, please Mama, I want cake Mama” [track 1, 1:57-2:11]
o = open d = damped
Yes
1
Tamborim
Please Ma ma I want cake Ma ma!
2
d
3
4
d
1
2
o
o
3
4
1
d
2
3
d
4
1
d
2
3
o
o
4
Agogo pattern for ‘Batucada ‘X’
pie right now I want it right now I want
1
Agogo
H
2
3
L
4
1
L
2
3
4
H
H
1
2
L
3
4
1
L
L
2
3
4
H
H
16
The joy of samba – lesson 4: Putting it all together for Batucada X
“Waiting for my dog, Spot” finish – used in various sambas [track 2, 2:32-2:35]
Wai – ting
High
instruments
x
x
2° surdo
d
d
1° surdo
d
d
for my dog, Spot
x
x
x
x
o
o
“Love the one you’re with” break [track 7, 2:04-2:18]
Di = high note Doo = low note
Dit Doo
High
instruments
x
Repeat 3 times…
Dit Doo Dit Doo Di Dit
x
x
x
x
x
x
x
Surdos
Then… High
instruments
o
Di Di Dit x
x
x
o
Di Di Dit
x
x
x
Hey!
Surdos
17
The joy of samba – lesson 5: Putting it all together for Batucada X
(continued)
“Slow Groove” break [track 2, 2:32-2:35]
H = high note L = low note
agogos
H
Repeat until repenique does chamada (quick intro)
H
H
H
L
surdos
H
H
O
tamborims
X
others
X
Agogos
H
H
Surdos
Tamborims
X
Others
X
L
L
L
O
O
O
X
X
X
L
O
O
X
H
X
L
X
H
X
X
L
L
O
O
X
X
X
“Funk break” also known as “Average White” break [track 7, 4:00-5:29]
O = open d = damped
surdos
tamborims
O
d
X
d
O
X
d
X
d
X
18
The joy of samba – lesson 6: More Batucada X
“Alegria” break [track 7, 7:10-7:47]
Repeat the pattern 4 times but on the 4th time through the last bar is completely silent
caixa
X
all others
X
caixa
X
all others
X
caixa
X
all others
X
caixa
X
all others
X
x
x
X
X
x
x
X
X
x
x
X
X
x
x
X
X X X
x
x
X
X
x
x
X
X
x
x
X
X
x
x
X
x
x
X
X
x
x
X
X
x
x
X
X
x
x
X
X
x
x
X
X
X
x
x
X
X
X
x
X X X
x
X
X
x
x
X
“Solo” break [track 7, 8:08-8:29]
Repeat twice while somebody does a solo on the repenique (or other instrument):
all
X
X
all
X
X
all
X
X
all
X
X
X
X
19
CD Guide
This CD Guide includes the comments of Mike Atyeo and Pierre Johnson. Mike
Atyeo created Samba Ottawa in 2000 and is still the maestre and creative director.
Pierre Johnson has been part of Samba Ottawa since its beginning and teaches the
beginner classes as well as section leader for the agogôs and shakers.
Samba Ottawa is a community percussion group of about 20 people, most are not
professional musicians. The repertoire includes samba, maracatu, samba-reggae,
and other Brazilian and Afro-Latin rhythms.
Track 1: Batucada-X, Samba Ottawa
“A batucada is a percussion only samba which uses the same rhythms as the samba
enredos of Rio. The enredo is the type of samba including signing, cavaquinho,
guitar and percussion performed as part of the Carnaval parade competitions
between the big samba schools of Rio. Batucada-X initially came to Samba
Ottawa via Mike (Atyeo) and his experience with the Suffolk School of Samba in
England.” Pierre
Track 2: Ano Novo, Samba Ottawa
“Ano Novo is also a batacuda we got from Samba Squad's Rick Lazar who
probably got from one of his trips to Rio. Ano Novo is also the piece Jesse Cook
interpolates into Mario Takes a Walk when a samba batería was at hand.” Pierre
Track 3: Soca Samba, Samba Ottawa
“Soca Samba is a fusion of samba and caribbean rhythms (soca) ... I suspect from
the North-East. Another adaptation from Samba Squad.” Pierre
Track 4: Magalenha, Sergio Mendes
“Magalenha is a woman's name and this song was originally by Sergio Mendes, off
his 'Brasileiro' album. That album was quite unlike most of the smooth Sergio
Mendes material - it was much more percussion-based. That was largely because
many of the tracks were written and arranged by Carlinhos Brown. He later formed
Timbalada, a community group in Salvador, Bahia who are world-renowned (e.g.
played at Montreal Jazz Festival) and very influential. This type of music is called
Axê and is based in Salvador. This music shows its African roots - the call and
20
response format (originally a man calling, women responding) with some typical
north-eastern Brazilian elements - like the triangle. One of the hardest things for
the arrangement is to keep it moving at quite a pace, and yet sounding relaxed and
bouncing along. It was remixed in the clubs a few years back, and I think that
version won a Juno. It’s definitely a crowd-pleaser with its very-easy-to-learn
chorus and its tongue-twister section in the middle.” Mike
Track 5: Berimbau, Olodum
“The rhythm in Berimbau is a samba reggae which is another fusion of samba
and Caribbean (reggae) rhythms. Many of the samba reggae tunes can be played at
a more relaxed pace such as Berimbau and at the lower speed the emphasis on the
off-beats and reggae like laid back feel are more evident. Samba reggae is from
Bahia (Salvador as heartland city) in the North-East of Brazil. This is song is about
the instrument, the berimbau.” Pierre
Track 6: Girl from Epanema, João Gilberto and Stan Getz
“Ipanema is a beach in Rio. Just as samba has African and European roots, the
bossa nova jazz elements are also trans-Altantic fusions with influences in from
local sources like choro which is an earlier Euro/Afro blending. Choro or chorinho
are a mix of European melody and African syncopation to create an earlier (as in
late 19th or early 20th century) jazz style in Rio. The bossa nova is somewhat less
frenetic than the chorinho probably due to outside fashion influences of the time. Marcos Ariel jokingly defined chorinho as having lots of notes.” Pierre
Track 7: Guatemala
Samba and Batucada X,
Samba Ottawa
Guatemala Samba
transitions into Batucada X
after the second break.
Tracks 8, 9 and 10: Ano
Novo, Samba Ottawa
More of Ano Novo and its
breaks.
21
References:
CIA- The World Fact Book. CIA. “Brazil.” Dec. 20th, 2007 [https://www.cia.gov/library/publications/theworld-factbook/geos/br.html]
[http://www.grovemusic.com.proxy.bib.uottawa.ca/shared/views/article.html?section=music.038
94.3.3#music.03894.3.3
Samba Ottawa’s repertoire and other related audio resources can be found at:
http://www.samba-ottawa.org/resources/
22
Appendix - Canto Pro Tempo
Learning Samba and Ano Novo
The joy of samba – lesson 2: Heartbeat and layers
The surdo heartbeat, ganza & caixa layers
1
2° surdo
2
3
4
1
3
4
o
1
2
3
4
1
o
X
2
3
4
x
x
X
o
1° surdo
Ganza
2
x
x
X
o
X
x
x
X
X
x
x
X
X
Samba reggae surdos [track 5]
pop
1
2
piz -
3
4
1
3° surdo
2° surdo
za
2
pop
3
4
1
have an - o - ther
2
3
4
o
o
1
2
3
4
o
o
o
o
o
1° surdo
o
o
“Waiting for my dog, Spot” finish – used in various sambas [track 2, 2:32-2:35]
Wai – ting
High
instruments
x
x
2° surdo
d
d
1° surdo
d
d
for my dog, Spot
x
x
x
x
o
o
23
The joy of samba – lesson 3: Highs and lows
Tamborim pattern [track 2]
1
Tamborim
x
Surdo
H
2
3
4
1
x
x
2
3
4
1
x
x
L
2
3
4
1
x
x
H
2
3
4
x
L
Agogo pattern for Ano Novo [track 2]
1
Agogo
L
Surdo
H
2
3
4
1
2
H
3
4
L
1
2
L
L
3
4
H
1
2
H
3
4
L
H
L
x x x
x x x
Tamborim entrada for Ano Novo [track 2, 0:40-0:45]
Tamborim
x x x
Tamborim
x
Tamborim
x
x x x
x
x
x
x
x
Tamborim virado (advanced technique)
Tamborim
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
x
f
b
x
x
f
b
x
x
f
b
x
x
f
b
x
twist twist twist twist
24
The joy of samba – lesson 4: Putting it all together for Ano Novo
Ano Novo Finishes (lesson 4), Breaks (lesson 5), Tamborim Conversations and
Tamborim Rides (lesson 6)
Nomenclature for pattern description:
bom – primeira surdos, bim – secunda surdos,
boom – all instruments and sometimes only surdos
cha, 3cha (= cha-cha-cha played as triplets) – tamborims only,
ta, da, tadalik, katadalik, prra – on the repenique only,
bing – agogo high bell, bong – agogo low bell,
Hand signal convention: fingers in front of the face means add five to the number (3 fingers in
front of the face = 8).
Shakers stop on most breaks and resume immediately after unless there is a tamborim entrada in
which case the shakers resume after the entrada, at the same time as the caixas and agogos.
Tips for learning to play with a bateria
1. Keep the beat with your feet !
2. Listen and play along when you recognise where
you fit in.
3. If you make a mistake, follow these rules:
a. Smile;
b. Drop out so as not to mess-up anybody else;
c. Go back to step 1 above (are your feet moving?) and then step 2 (join back in when you
know where to fit in).
4. If it is too difficult or fast, play a simpler version (e.g. stick to key accents).
5. Learn using all the methods that work you: watching, listening, moving, feeling, counting,
repeating the phrase verbally. Once you’ve learned it, rely on your feet and ears to play along.
6. Strive for crisp entries, exits and transitions.
25
Finishes:
Name
signal
[track]
gesture
pattern and hints
[track 8, 4:50]
Big Finish
one apito warning
hand signal
repenique chamada
boom boom boom boom boom, prra,
boom boom boom boom boom, prra,
boom boom boom boom boom,
bim bom-bim bom-bim boom!
<high instruments playing along with surdos on that last line>
Mozart finish
(Eine Kleine Nachtfinish
…)
one apito warning
hand signal
repenique chamada
<mimic
violin
playing>
cha boom-cha boom-cha boom-cha boom-cha,
tadalik, katadalik ka,
ta-ta bom
<4 bars of samba with 3cha 3cha cha>
boom-boom chachachacha
boom-boom chachachacha bom-bom
<regular samba for 3 bars>
waiting for my dog
tadalik, katadalik ka,
ta-ta bom
<4 bars of samba with 3cha 3cha cha>
boom-boom chachachacha bom-bom
<samba for 3 bars>
waiting for my dog spot <finish>
26
The joy of samba – lesson 5: Breaks
1
one apito warning
hand signal
repenique chamada
[track 2, 1:03]
bim cha bom
Hint: secunda surdos just keep playing normal pattern.
2
two apito warning
hand signal
repenique chamada
[track 2, 1:17]
bim cha bom bim cha bom
Hint: secunda surdos just keep playing normal pattern.
3
three apito warning
hand signal
repenique chamada
[track 2, 1:26]
ta ta ta boom boom boom,
<some repenique noodling> bom bom,
<a bit more noodling> bom bom
<samba with tamborim entrada>
4
four apito warning
hand signal
repenique chamada
[track 2, 1:58]
ta da ta da ta,
bom bom bim cha <tamborims jump>,
bom bim cha <tamborims jump>,
bom bim cha <tamborims jump>, bom
5 (typewriter)
apito warning
hand signal
repenique chamada
[track 2, 2:14]
bom prra bom,
3cha 3cha cha bing!
bom
Sky (crescendo)
apito warning
hand signal
repenique chamada
[track 8, 1:16]
boom
boom boom boom boom boom 8
apito warning
hand signal
repenique chamada
[track 8,1:33]
tata tata tata tata cha cha
tata tata tata tata boom boom <surdos only>
ta ta boom boom <surdos only>
ta ta cha cha
prra prra prra
bom bim bom bim bom
<samba with tamborim entrada>
27
The wave
two apito blasts with
hand signal
[track 8, 1:59]
waiting for my dog
<primeiras do pickups during clave below while secundas
keep playing normal pattern>
1 2 3 sam-ba, 1 2 3 sam-ba,
1 2 3 sam-ba, 1 2 3 sam-ba,
waiting for my dog spot
<samba with special tamborim entrada>
6 (unibrow – unibroue)
four apito blasts with
hand signal
[track 9, 0:31]
boom boom cha, boom boom cha,
boom boom cha, boom boom cha,
boom cha, boom cha,
boom boom cha, boom boom,
prra bom <samba with tamborim entrada>
Eye
[track 8, 3:54]
one apito warning
hand signal
repenique chamada
boom ta ta tata <all highs with repenique>
boom boom boom
“Samba Ottawa in the house/hall/park/church!”
“Samba Ottawa in the house/hall/park/church!”
<repeat all of the above two more times>
<repenique chamada to restart the samba>
Liberdade
one apito warning
hand signal
repenique chamada
[track 10, 0.35]
chacha cha chacha cha cha chacha
cha cha cha chacha, cha cha cha
bom
Sapucai
one apito warning
hand signal: wiggle
fingers
repenique chamada
[track 10, 1:02]
boom-boom boom-boom boom
bim bom bim bom <samba for 1 bar>
boom-boom boom-boom boom
prra bom
• In Ano Novo most of the breaks end with a pick-up beat “bom” from the primera surdo as listed.
• The breaks start where a “bim” of a seconda surda would otherwise be.
• Right after breaks end there is a regularly scheduled “bim” on the seconda where the regular
samba resumes.
28
The joy of samba – lesson 6: Tamborim Conversations and Rides
Conversation 1
[track 9, 1:04]
3cha 3cha 3cha 3cha cha,
3cha 3cha 3cha 3cha cha,
3cha 3cha 3cha 3cha
cha cha cha chachacha
cha cha cha chachacha,
boom boom boom boomboomboom,
chacha 3cha 3cha cha bom
Conversation 2
[track 9, 1:34]
…
Conversation 3
[track 9, 2:38]
…
Ride 5
[track 8, 2:25]
…
Ride 8
[track 8, 3:05]
…
• All the tamborim conversations or rides begin with a “waiting for my dog spot” which is only
played on the tamborims.
• The conversation are between the tamborims and the others, which means there’s a place for
other instruments to respond.
• The rides are only played on the tamborims while the rest of the bateria sambas along as usual.
29

canto pro tempo: the joys of samba

Transcription

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