supplementary materials note: any handout...

SUPPLEMENTARY MATERIALS

NOTE: ANY HANDOUT MAY ALSO BE COPIED AND USED AS AN OVERHEAD. TEACHERS WHO DOWNLOAD THE MANUAL MAY PROJECT

MATERIALS USING A LCD PROJECTOR.

CHAPTER 1Brazil’s National Music

HANDOUT 1.1Chapter 1 Style/Genre Reference Guide

Origins Purpose/Function

Description/Characteristics

Samba-enredo

Samba demorro

Samba-canção

Pagode

Samba-de-roda

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HANDOUT 1.2Song Comparison Chart

Song/Artist Tempo Instruments/Voice Form Description

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CHAPTER 2Projecting Brazilian Identity Nationally and Internationally

HANDOUT 2.1Chapter 2 Style/Genre Reference Guide

Origins Purpose/Function

Description/Characteristics

Choro

BrazilianArt Music

BossaNova

Tropicália

MPB

MúsicaBrega

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HANDOUT 2.2"Língua de Preto” Listening guide

Timing Event Description0:00 Theme 1

0:46 Theme 2

1:01 Theme 1

1:22 Theme 3

1:42 Repeat and transition

1:59 Theme 1

2:24 Coda

2:50 Fade out

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HANDOUT 2.3“The Girl from Ipanema” (“"Garôta de Ipanema")

Time Event Melody Description0:00 Intro Male vocal

João Gilberto0:08 A Male vocal

0:23 A Male vocal

0:37 B Male vocal

1:07 A Male vocal

1:22 A Female vocalAstrud Gilberto

1:36 A Female vocal

1:51 B Female vocal

2:21 A Female vocal

2:35 AABA Saxophone soloStan Getz

3:38 A PianoTom Jobim

3:52 A Piano

4:18 B Female vocal

4:48 A Female vocal, Saxophonecounterline

5:00 Coda Female vocal, saxophonefills

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HANDOUT 2.4Comparison of Artists

RobertoCarlos:King of

Brazilian PopMusic

BennyGoodman:

King of Swing

CliftonChenier:

King of Zydeco

Elvis Presley:The King of

Rock and Roll

Length ofcareer

From 1958 topresent

Record sales Total of morethan 100million copies;first LatinAmerican tosell more thanthe Beatles

Entertainmentmedia

Recordings;Live concerts;Radio;Television;motion pictures

Covers byother artists

Songs recordedby other majorBrazilianartists

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CHAPTER 3Expressing Afro-Brazilian and Indigenous Identity

HANDOUT 3.1Chapter 3 Style/Genre Reference Guide

Origins Purpose/Function Description/CharacteristicsCapoeiraAngola

CapoeiraRegional

CapoeiraAtual

Music oftheKayapó-Kikrin

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Handout 3.2Angola Toque

Handout/Overhead 33 Berimbau Comparisons

Instrument Pitch range FunctionBerimbau gunga Low Plays the principal rhythm pattern

called the toqueBerimbau médio Middle Plays a rhythm that complements

that of the berimbau gungaBerimbau viola High Plays variations and decorations

of the basic rhythm

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CHAPTER 4The Sound of the Northeast

HANDOUT 4.1Chapter 4 Style/Genre Reference Guide

Origins Purpose/Function

Description/Characteristics

Bumba-meu-boi

Cavalo-Marinho

Maracatude Nação

MaracatuRural

Baião

Forró

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HANDOUT 4.2

Rabeca baiano, 1

Rabeca baiano, 2

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HANDOUT 4.3"Forró em Monteiro" Listening Guide

CD Track 13 CD Track 14Instrumentation Solo sanfona de oito baixos

(Button accordion)sanfona de oito baixos, triangle,pandeiro, zabumba

Start of transcribed melody 0:04 0:08Tempo Quarter = 192+ Varies

Description/Comments onperformance of first half ofmelody.

Timing of repeat of first melody 0:12 0:17

Note any differences duringrepeat of first half of melody.

Timing of start of second half ofmelody

0:20 0:25

Description/comments onperformance of second half ofmelody

Timing of repeat of second halfof melody

0:29 0:34

Note any difference during repeatof second half of melody

Played an octave lower

D.S. to beginning 0:37 0:42

Repeat on D.S 0:44 0:51

Both 1st and 2nd part are repeatedagain before fading out

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OVERHEAD 4.4"Forró em Monteiro “ Melody

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CHAPTER 5Expressing Southern Brazilian Identity

HANDOUT 5.1Chapter 5 Style/Genre Reference Guide

Origins Purpose/Function

Description/Characteristics

Músicacaipira

Músicasertaneja

Músicagaúcha

HANDOUT 5.2

Comparison of Toadas and Modas-de-violaToadas

Modas-de-viola

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HANDOUT 5.3“Queluzindo” Listening Guide

Timing Event Description0:00 Theme A

0:27 Fingers on wood

0:39 Pause

0:41 Theme B

1:00 Repeat

1:23 Theme ?

2:00 Pause

2:02 Theme ?

2:31 Pause

2:32 Theme ?

3:15 Final chord

HANDOUT 5.4Música Sertaneja Style Comparison Chart

Sub-style Description/CharacteristicsAcoustic sertaneja

“Modernized”sertaneja

Today’s Sertaneja

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HANDOUT 5.5"Céu, Sol, Sul, Terra e Cor" Lyrics

Portuguese English

Eu quero andar nas coxilhas

Sentindo as flechilhas das ervas do chão

Ter os pés roseteados de campo

Ficar mais trigueiro com o sol de verão

Fazer versos, cantando as belezas

Desta natureza sem par

E mostrar, para quem quiser ver

Um lugar pra viver sem chorar.

I want to walk on the grasslands

Feeling the grass on the ground

To have my feet roughened from walking in the

country

Become browned by the summer sun

To write poetry that sings of the beauties

Of this unequaled nature

And show to whomever wants to see

A place to live without sadness

É o meu Rio Grande do Sul

Céu, sol, sul, terra e cor

Onde tudo que se planta cresce

E o que mais floresce é o amor.

It's my Rio Grande do Sul

Sky, sun, south, land, and color

Where everything planted grows

And what flourishes most is love

Eu quero banhar nas fontes

E olhar horizontes com Deus

E sentir que as cantigas nativas

Continuam vivas para os filhos meus.

Ver os campos florindo e crianças sorrindo

Felizes a cantar

E mostrar, para quem quiser ver

Um lugar pra viver sem chorar.

I want to bathe in the springs

And see horizons with God

And feel that the native songs

Will be alive for my sons

To see the fields flowering and children smiling

Singing happily

And show to whomever wants to see

A place to live without sadness

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HANDOUT 5.6"Céu, Sol, Sul, Terra e Cor" Listening Guide

Timing Event Description0:00 Introduction Triple meter, viola, bass, percussion

0:17 Verse Solo male voice

0:46 Male and female voices-- 3rd/6ths

0:55 Verse Solo male voice

1:09 Male and female voices—3rds/6ths

1:34 Verse Solo male voice

2:02 Male and female voices—3rds/6ths

2:12 Verse Solo male voice

2:25 Male and female voices—3rds/6ths

2:50 Ending Fade out with accordion

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HANDOUT 5.7

“Milonga Para as Missões” Listening Guide

Timing Event Description0:00 Introduction Improvisatory style with guitar, button accordion; arpeggios,

chords, brief motifs0:36 Measure 1 of

transcriptionAs notated; measure two is more extended on recording

0:43 A Percussion accompaniment added

0:59 B

1:13 Post-B

1:21 A Adds brass background at 1:26

1:35 B

1:49 Post-B Interlude is extended

1:59 A Much different from notation—mostly brass section lead

2:15 B

2:29 Post-B Brass lead beginning at 2:35

2:43 A Return to less complex-more like section at 1:21

2:57 B

3:13 Post-B Very abbreviated-ends with chord and fall in brass

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CHAPTER 6Innovative Music Scene of Recife

Handout 6.1Chapter 6 Style/Genre Reference Chart

Origins Purpose/Function

Description/Characteristics

Mangue

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HANDOUT 6.2“Samba de Dez Linhas” Lyrics

É um vaquero encouradoDois touro brabo correndoTres contavento moedoQuatro cego malcriadoCinco duzia de aleijadoSies velha pedindo esmolaCinco duzia de aleijadoSies velha pedindo esmolaSete pásso na gailaOito carga de aguardenteNove elha sem ter denteDez cordas numa viola

It’s one leather clad cowboyTwo wild bulls runningThree wind-powered mills grindingFour rude blind menFive dozen cripplesSix old ladies beggingFive dozen cripplesSix old ladies beggingSeven birds in the cageEight shots of cane rumNine toothless old ladiesTen Strings on a viola.

Com dez eu pego na casaCom vinte assento os esteioCom trinta eu parto o meioQuarenta eu nao me atrasoCom cinquenta eu cavo a baseSessenta a porta e a janelaSetenta eu obro a tigelaOitenta eu ripo e amarroCom noventa eu bato o barroE com cem estou dentro dela

With ten I start the houseWith twenty I set the supportsWith thirty I divide it in the middleForty I don’t delayWith fifty I dig the foundationSixty the door and windowSeventy, I raise the wallsEighty I raise the roof beam and tie the tilesWith ninety I line it with clayAnd with a hundred I’m inside it

Lá na Torre MalakoffVi acender uma luzNa rua do Bom JesusAfinei minha rebecaFui para a Rua da MoedaTocar com muita armoníaFui para a Rua da MoedaTocar com muita armoníaLá tem gente todo diaVai até de madrugaTomando muita cachacaNo Bar da Cachacaria

There in Malakoff towerI saw a light go onOn the Rua do Bom JesusI tuned my rebecaI went to the Rua da MoedaTo play with much harmonyI went to the Rua da MoedaTo play with much harmonyIt’s crowded there every dayUntil dawnDrinking lots of cachacaAt the Cachacaria Bar.

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HANDOUT 6.2“Samba de Dez Linhas” LISTENING GUIDE

Time Event Description0:00 Introduction

1:04 Solo

1:18 Chorus

1:23 Solo voice

1:39 Instrumental section

2:12 Solo

2:27 Chorus

2:32 Solo

Instrumental

solo

Chorus

Solo

Instrumental

Coda Techno pop, electronic

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Handout 6.3“Samba de Dez Linhas” Instrumental Motifs