BRAZILIAN PERCUSSION CLASS
OVERVIEW
These classes focus on learning how to play some of Brazil's many percussion ensemble traditions. The goal of the group is to perform within the community and have a great time doing so. Therefore, our preparations are geared towards developing instrumental proficiency and our musical arrangements.
Some of the styles we draw from, include:
Each ensemble-rhythm is typically arranged using some combination of the following instruments:
Some instruments, depending on the style, have strict parts, while others have license to embellish and solo. However, every instrument is essential to the groove's texture.
In addition to the groove, there are many other elements that may make up the arrangement:
Some of the styles we draw from, include:
- Afoxe / Ijexa (Candomble)
- Baião (Forró)
- Frevo
- Hip Hop
- Maracatu
- Samba Afro
- Samba Batucada / Samba Enredo
- Samba Reggae
- Timbalada
Each ensemble-rhythm is typically arranged using some combination of the following instruments:
- Surdo and/or Alfia
- Caixa (Snare Drum)
- Repinique or Repique
- Timbao
- Agogo
- Tamborim
- Rocar / Chocalho (Shaker)
Some instruments, depending on the style, have strict parts, while others have license to embellish and solo. However, every instrument is essential to the groove's texture.
In addition to the groove, there are many other elements that may make up the arrangement:
- Call-in (to begin)
- Call-out (to stop)
- Breaks / Conventions
- Layering
- Introductory Section (i.e. ‘The Head’ / Da Capo, 'the top')
- Contrasting Sections (A-B)
- Variation Phrases
- Solos
FORMAT
The beginning of class requires time to setup and ensure everyone is equipped, then there are announcements, and finally we start playing.
We generally start with a slow rhythm to get into the groove. Afterwards we aim to work through all, or most, of our repertoire.
Everyone has the opportunity to learn and play any part. But for the sake of the ensembles progression, parts are thoughtfully delineated based on the personnel at a given class.
Once the instruments and parts are delineated we spend the majority of our time playing. We do stop to discuss the arrangement, parts, technique, or anything else that comes up. For example, we may collectively examine an instrument and ways to modify the part if it is too difficult.
We generally start with a slow rhythm to get into the groove. Afterwards we aim to work through all, or most, of our repertoire.
Everyone has the opportunity to learn and play any part. But for the sake of the ensembles progression, parts are thoughtfully delineated based on the personnel at a given class.
Once the instruments and parts are delineated we spend the majority of our time playing. We do stop to discuss the arrangement, parts, technique, or anything else that comes up. For example, we may collectively examine an instrument and ways to modify the part if it is too difficult.