the joys of samba - samba ottawasamba-ottawa.org/uploads/resources/cantoprotempo0904.pdfbossa nova:...

CANTO PRO TEMPO:THE JOYS OF SAMBA

Isabelle St-Amourwith

Samba OttawaDec. 21st, 2007Revised April 2009C

anto Pro Tempo is Portuguese for “I sing for tempo”

No music reading skills required!

Table of ContentsBackground 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

4

Background on Brazil

Brazil is the largest and most populouscountry in South America. In 1822 Brazilbecame a nation and in 1889 a republic.Brazil continues to expand into its interiorwith development in industry and agriculture.Brazil has large amounts of both naturalresources and labour and is now South

America’s leading economic power and regional leader. Unfortunately there stillremains high unequal income distribution among the population which is causingmuch conflict and social and economic problems.1 The following are importantbackground facts that have influenced Brazilian music: (1) Brazil has the largestpopulation of Catholic people in the world; and (2) Brazil also had the highestnumber 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]

Canto Pro Tempo: The Joys of Samba Music History

5

Music History

General Overview:It was not until after the 1930’s that Brazilian folk and popular music could beclearly distinguished. The culture of the cities and towns were all rural orientedand therefore no separation between the two types of music could be made. Thecontinued growth of urban centres in the 1940’s made folk and popular musiceasier 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 richestand most varied and unique traditions of popular music in Latin America.”2

During the 1960’s several trends have emerged from Brazil which have becomeinfluential all over the world including NorthAmerica, Europe, and Africa. Brazilianpopular music cannot be defined as one typeor genre but instead is different types of formsof expressions associated with specificregions, historical periods, as well as socialclasses. Brazilian music has been influencedby 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. Thedance itself did not differ much from the tango or the Brazilian tango with theexception of a more systematically syncopated accompanimental rhythm. “It isquite likely that the folk samba, a round dance involving dancing couplesperforming the umbigada in typical round choreographic figures (especiallyassociated with Rio de Janeiro and Bahia), was the model developed in the urbanareas. The call-and-response performing style and corresponding stanza and refrainalternation 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 beginningof the century) subsequently influenced numerous urban samba styles developed inthe 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.03894.3.3]


6

genre, with a few exclusively instrumental subgenres such as the samba-choro andsamba 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 forthe Carnival marching as well as for nightclubs. Samba music and dancing also isa clear representation of the strong social stratification prevailing in the larger post-WWII cities. This is evident in Rio de Janeiro especially, where the urbangeography has created a pronounced social separation with the poor living in thenorthern areas or hilly ghettos and the rich along the beach districts such as Lemeand 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 veryfirst recording of bossa nova was in 1952 in Rio by by João Gilberto who is one ofthe earliest and most influencial bossa nova figures. Those who were involvedwith the bossa nova belonged to the middle and upper-classes and had combinedthe popular samba music with various American jazz artists. These bossanovistaswanted to renovate the Brazilian popular music with a new innovative form ofexpression. “In effect, bossa nova represented a revolutionary innovation only in

3 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.03894.3.3]


7

its new rhythmic rendition of the samba beat, the nature and quality of its lyricsand its general performance practice.4

Samba Schools and the Carnival:Samba music is generally performed with Samba Schoolsthat are located in the urban centres of Brazil and containthe people from that community. They are usually foundin the favelas, the slums or ghettos, of cities such as Riode Janerio and São Paulo. Samba Schools gather to playand dance Samba music and will enter the world’s largestand most famous procession, the Carnival parade. Theword carnival originated from the Latin words “CarneVale” 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 gaspof music, food, and alcohol before Lent, the 40 days of personal reflection,abstinence, and fasting until Easter.

4 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.03894.3.3]

Canto Pro Tempo: The Joys of Samba The Batería

8

The Batería

The Agogô[track 1, 4:34-4:51] Agogô means gong or bell in Yoruba and is based on the WestAfrican Yoruba single and double bell. It has the highest pitch of the bateríainstruments and can be made with up to five bells. Originally the agogô was usedin religious ceremonial music. To play the instrument hold the bells with yournon-dominant hand with the connecting rod pointingtowards your body and your thumb wrapped over thebeginning of the neck of the smaller bell. Your otherfingers should be wrapped on the beginning of thelarger bell’s neck. In your dominant hand hold thestick 3/4 of the way with the longer end connecting tothe bells as you strike them. Keep your hands andarms relaxed while the wrists do the motion and not your entire arm. A two-bellAgogô can produce 5 sounds: the high bell struck normally, the low bell strucknormally, the two bells squeezed together, the high bell struck while damped bybeing squeezed against the low, and the low bell struck while damped by beingheld 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 isplayed in the southern parts of Africa. The berimbauis an essential part of the martial art form ofCapoeira (as seen in the picture on page 5). Itconsists of a wooden bow made from biriba woodgrown 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 fingerswrapped around the wooden bow and placing the little finger under the gourd’sstring loop. Hold a small stone or coin between the index and thumb of the samehand that holds the berimbau. The gourd should be resting on the abdomen whilethe other free hand holds a small stick which will strike the string while the stone


9

or coin moves back and forth to change the pitch. The hand holding the stick oftenalso holds a small shaker. Moving the gourd to and from the abdomen varies theresonance and produces a wah-wah effect.

The Caixas[track 3, 3:53-4:09] Pronounced Kaisha, the caixa, is a samba snare lighter than anormal kit snare which produces a more crisp soundwhen hit, if tuned correctly. To play this instrument,strap it around you, and strike the head of the drum, notthe snare strings going across. The motion of the stickshould be coming from the wrist and not the elbow. Theforearm should be parallel to the ground and the elbowshould be at a 90° angle. The hands should grip thestick with minimal tension. Brazilian technique is lessrigorous than other snare disciplines in requiring a left, right, left, right ... actionand it caters to players using their dominant hand for accents while leaving theother 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 afriction drum that produces high pitched squeaky notes. Toplay this instrument, hold the cuíca under the non-dominantarm at chest height and rub the thin bamboo stick attachedinside the drum in the centre of the drum head with a wetcloth. Pitch changes can be created by applying pressure withthe thumb of the non-dominant hand on the skin of the drum.

The PandeiroThe pandeiro is a type of a hand frame drumsimilar to the tambourine. The pandeiro, unlikethe tambourine, can be tuned, and the platinelas(round metal cymbals) create a crisper sound. Toplay this instrument, hold the pandeiro in yournon-dominant hand while the dominant handstrikes the head alternatively with thumb, fingertips, heel, and palm of the hand.


10

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 dominanthand in the middle while jolting away and towards your body whilekeeping the ganzá parallel to the floor. The shaker is a metal framewhich holds small round cymbals whichproduce a crisp sound. To play thisinstrument, hold the frame by the handlesand jolt it away and towards your body

while keeping it parallel to the floor. Note that bothganzás and shakers need to be muffled or stoppedslightly 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 stickand the hand. The role of the repinique is to support the surdo as wellas cuing entrances and breaks. To play this instrument, use a strap tohang it to the mid waist. Hold a snare drum stick with the blunt endmaking contact on the head in the dominant hand. The non-dominanthand 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 thestick 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 thelowest pitch of the ensemble. The surdo is usually about 60 cm deep and can varybetween 16” to even 29” in diameter. A surdo section has three separate partsplayed by the primeira, segunda, and terceira. Theprimeira (first) is the lowest pitch and largest in sizeof the three and always plays on beat two providing thepulse of the music. The segunda (second) usually has amore complicated ornamented part which is a response tothe primeira, is tuned a fifth above the primera, andalways plays on beat one. The terceira (third) is the


11

smallest and highest-pitched of the three surdos. The terceira usually plays themost ornamented and complex part and provides fills to the pattern and a swingfeel to the rhythm. To play this instrument, suspend the surdo with a strap toslightly below the waistline and strike with a mallet while damping with the non-dominant hand.

The Tamborim[track 3, 0:48-0:50] The tamborim is a frame hand drum about6” in diameter and has a high and sharp timbre. Virado is aplaying technique commonly used on the tamborim whichinvolves rapidly flipping the tamborim upside down whilestriking 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 onthe metal rim and the other fingers curled under the rim. Optionally the indexfinger can be used to apply and release pressure on the underside of the head tovary the pitch. With the stick or baquetta in the dominant hand, strike thetamborim slightly off-centered of the head. A baquetta is a grouping of multipleplastic sticks that produce multiple hits on the head.

Canto Pro Tempo: The Joys of Samba Learning Samba and Batucada X

12

Learning Samba and Batucada-X

Structure of a Percussion JamAn entrada is an entrance. There are two types of entradas. The first is used by themaestre to start or open a performance. [track 1, 0:00-0:19; track 2, 0:00-0:35] It is usually acall and response between the repenique and the batería. It is variable in lengthand open to improvisation using a range of stock calls. The second entrada issection specific and is usually played at a specific time near the beginning of asamba or after a break. [track 2, 0:40-0:45 tamborim] It consist of a predefined patternplayed 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 therepenique by the maestre. The chamada is quick and is the signal for the surdos tobegin the samba in earnest. A chamada may be the last phrase of the big entradaand 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 opportunityfor interpolation of other rhythms such as funk or for speed changes. Breaks aresignalled with hand signals and called in by a combination of apito (a three tonewhistle) and/or repenique. [track 1, 4:33]

Finishes are called in the same manner as the beginning of the breaks. [track 2, 2:32-2:35]


13

The joy of samba – lesson 1: Learning SambaHand 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


14

The joy of samba – lesson 2: Heartbeat and layers

The surdo heartbeat, ganza & caixa layers

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

2° surdo o o

1° surdo o o

Ganza X x x X X x x X X x x X X x x X

Samba reggae surdos [track 5]

pop piz - za pop have an - o - ther

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

3° surdo o o o o o

2° surdo 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 x x x x

Low: surdo o o

High x x x x x x x x x

Low: surdo o


15

Part 2: The triplets!

High x x x x x x x x x x x x

Low: surdo

High x x x x x

Low: surdo o o


16

The joy of samba – lesson 3: Highs and lows

Clave pattern highs and lows

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

3-2 clave x x x o o

“Yes, please Mama, I want cake Mama” [track 1, 1:57-2:11]

o = open d = damped

Yes Please Ma ma I want cake Ma ma!

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Tamborim d d o o d d d o o

Agogo pattern for ‘Batucada ‘X’

pie right now I want it right now I want

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Agogo H L L H H L L L H H


17

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 for my dog, Spot

Highinstruments x x x x x x

2° surdo d d o

1° surdo d d o

“Love the one you’re with” break [track 7, 2:04-2:18]

Di = high note Doo = low note Repeat 3 times…

Dit Doo Dit Doo Dit Doo Di Dit

Highinstruments x x x x x x x x

Surdos o o

Then… Di Di Dit Di Di Dit

Highinstruments x x x x x x Hey!

Surdos


18

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 Repeat until repenique does chamada (quick intro)

agogos H H H H L H H L L

surdos O O O

tamborims X X X X

others X

Agogos H H L L L H H L L

Surdos O O O O O

Tamborims X X X X X X X X

Others X X

“Funk break” also known as “Average White” break [track 7, 4:00-5:29]

O = open d = damped

surdos O d d O d d

tamborims X X X X


19

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 x x X X x x X X x x X X x x X

all others X X X X


all others X


all others X X X X X X X


all others 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

20

CD Guide

This CD Guide includes the comments of Mike Atyeo and Pierre Johnson. MikeAtyeo 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 thebeginner classes as well as section leader for the agogôs and shakers.

Samba Ottawa is a community percussion group of about 20 people, most are notprofessional 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 sambaenredos of Rio. The enredo is the type of samba including signing, cavaquinho,guitar and percussion performed as part of the Carnaval parade competitionsbetween the big samba schools of Rio. Batucada-X initially came to SambaOttawa via Mike (Atyeo) and his experience with the Suffolk School of Samba inEngland.” Pierre

Track 2: Ano Novo, Samba Ottawa“Ano Novo is also a batacuda we got from Samba Squad's Rick Lazar whoprobably got from one of his trips to Rio. Ano Novo is also the piece Jesse Cookinterpolates 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 fromthe 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, offhis 'Brasileiro' album. That album was quite unlike most of the smooth SergioMendes material - it was much more percussion-based. That was largely becausemany of the tracks were written and arranged by Carlinhos Brown. He later formedTimbalada, 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 calledAxê and is based in Salvador. This music shows its African roots - the call and

21

response format (originally a man calling, women responding) with some typicalnorth-eastern Brazilian elements - like the triangle. One of the hardest things forthe arrangement is to keep it moving at quite a pace, and yet sounding relaxed andbouncing along. It was remixed in the clubs a few years back, and I think thatversion won a Juno. It’s definitely a crowd-pleaser with its very-easy-to-learnchorus 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 sambaand Caribbean (reggae) rhythms. Many of the samba reggae tunes can be played ata more relaxed pace such as Berimbau and at the lower speed the emphasis on theoff-beats and reggae like laid back feel are more evident. Samba reggae is fromBahia (Salvador as heartland city) in the North-East of Brazil. This is song is aboutthe 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, thebossa nova jazz elements are also trans-Altantic fusions with influences in fromlocal sources like choro which is an earlier Euro/Afro blending. Choro or chorinhoare a mix of European melody and African syncopation to create an earlier (as inlate 19th or early 20th century) jazz style in Rio. The bossa nova is somewhat lessfrenetic 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: GuatemalaSamba and Batucada X,Samba OttawaGuatemala Sambatransitions into Batucada Xafter the second break.

Tracks 8, 9 and 10: AnoNovo, Samba OttawaMore of Ano Novo and itsbreaks.

22

References:

CIA- The World Fact Book. CIA. “Brazil.” Dec. 20th, 2007 [https://www.cia.gov/library/publications/the-

world-factbook/geos/br.html]

Grove Music Online. “Brazil: Popular Music.”Dec. 20th, 2007

[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/

Appendix - Canto Pro Tempo Learning Samba and Ano Novo

23

The joy of samba – lesson 2: Heartbeat and layers

The surdo heartbeat, ganza & caixa layers

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

2° surdo o o

1° surdo o o

Ganza X x x X X x x X X x x X X x x X

Samba reggae surdos [track 5]

pop piz - za pop have an - o - ther

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

3° surdo o o o o o

2° surdo o o

1° surdo o o

“Waiting for my dog, Spot” finish – used in various sambas [track 2, 2:32-2:35]

Wai – ting for my dog, Spot

Highinstruments x x x x x x

2° surdo d d o

1° surdo d d o


24

The joy of samba – lesson 3: Highs and lows

Tamborim pattern [track 2]

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Tamborim x x x x x x x x

Surdo H L H L

Agogo pattern for Ano Novo [track 2]

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Agogo L H L L H H L

Surdo H L H L

Tamborim entrada for Ano Novo [track 2, 0:40-0:45]

Tamborim x x x x x x x x x x x x

Tamborim x x x x

Tamborim x x x

Tamborim virado (advanced technique)

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Tamborim x f b x x f b x x f b x x f b x

twist twist twist twist


25

The joy of samba – lesson 4: Putting it all together for Ano Novo

Ano Novo Finishes (lesson 4), Breaks (lesson 5), Tamborim Conversations andTamborim Rides (lesson 6)

Nomenclature for pattern description:

bom – primeira surdos, bim – secunda surdos,boom – all instruments and sometimes only surdoscha, 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 infront of the face = 8).

Shakers stop on most breaks and resume immediately after unless there is a tamborim entrada inwhich 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 whereyou 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 youknow 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.


26

Finishes:

Namesignal gesture

[track]pattern and hints

Big Finish [track 8, 4:50]

one apito warninghand signalrepenique 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…)


<mimicviolinplaying>

cha boom-cha boom-cha boom-cha boom-cha,tadalik, katadalik ka,cha boom-cha boom-cha boom-cha boom-cha,ta-ta bom<4 bars of samba with 3cha 3cha cha>boom-boom chachachachaboom-boom chachachachaboom-boom chachachacha bom-bom<regular samba for 3 bars>waiting for my dogcha boom-cha boom-cha boom-cha boom-cha,tadalik, katadalik ka,cha boom-cha boom-cha boom-cha boom-cha,ta-ta bom<4 bars of samba with 3cha 3cha cha>boom-boom chachachachaboom-boom chachachachaboom-boom chachachacha bom-bom<samba for 3 bars>

waiting for my dog spot <finish>


27

The joy of samba – lesson 5: Breaks

1 [track 2, 1:03]


bim cha bom

Hint: secunda surdos just keep playing normal pattern.

2 [track 2, 1:17]

two apito warninghand signalrepenique chamada

bim cha bom bim cha bom

Hint: secunda surdos just keep playing normal pattern.

3 [track 2, 1:26]

three apito warninghand signalrepenique chamada

ta ta ta boom boom boom,ta ta ta boom boom boom,ta ta ta boom boom boom,<some repenique noodling> bom bom,<a bit more noodling> bom bom<samba with tamborim entrada>

4 [track 2, 1:58]

four apito warninghand signalrepenique chamada

ta da ta da ta,bom bom bim cha <tamborims jump>,bom bim cha <tamborims jump>,bom bim cha <tamborims jump>, bom

5 (typewriter) [track 2, 2:14]

apito warninghand signalrepenique chamada

bom prra bom,3cha 3cha cha bing!bom

Sky (crescendo) [track 8, 1:16]


boom boom boom boom boom boom

8 [track 8,1:33]


tata tata tata tata cha chatata tata tata tata boom boom <surdos only>ta ta boom boom <surdos only>ta ta cha chaprra prra prrabom bim bom bim bom<samba with tamborim entrada>


28

The wave [track 8, 1:59]

two apito blasts withhand signal

waiting for my dog<primeiras do pickups during clave below while secundaskeep 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) [track 9, 0:31]

four apito blasts withhand signal

waiting for my dog spotboom boom cha, boom boom cha,boom boom cha, boom boom cha,boom cha, boom cha,boom boom cha, boom boom,waiting for my dog spotprra bom <samba with tamborim entrada>

Eye [track 8, 3:54]


boom ta ta tata <all highs with repenique>boom ta ta tata <all highs with repenique>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 [track 10, 0.35]


chacha cha chacha cha cha chachacha cha cha chacha, cha cha chabom

Sapucai [track 10, 1:02]

one apito warninghand signal: wigglefingersrepenique chamada

boom-boom boom-boom boombim bom bim bom <samba for 1 bar>boom-boom boom-boom boomwaiting for my dog spotprra 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 regularsamba resumes.


29

The joy of samba – lesson 6: Tamborim Conversations and Rides

Conversation 1 [track 9, 1:04]

waiting for my dog spot3cha 3cha 3cha 3cha cha,3cha 3cha 3cha 3cha cha,3cha 3cha 3cha 3chacha cha cha chachachacha cha cha chachacha,boom boom boom boomboomboom, chacha 3cha 3cha cha bom


waiting for my dog spot

…



…

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 onlyplayed on the tamborims.

• The conversation are between the tamborims and the others, which means there’s a place forother instruments to respond.

• The rides are only played on the tamborims while the rest of the bateria sambas along as usual.

the joys of samba - samba ottawasamba-ottawa.org/uploads/resources/cantoprotempo0904.pdfbossa nova:...

Documents