SAMBA GROUP
These meetings focus on learning to play samba and other Brazilian percussion traditions, especially with the goal of performing within the community.
OVERVIEW
Each style (music arrangement) we play uses some combination of the following instruments:
- Surdo and/or Alfaia
- Caixa (Snare Drum)
- Repinique or Repique
- Timbao
- Agogo
- Tamborim
- Rocar / Chocalho (Shaker)
In addition to each styles (musical arrangement's) basic groove, there are other compositional elements:
- Call-in (to begin)
- Call-out (to stop)
- Breaks
- Introductory Sections
- Contrasting Grooves / Sections
- Variation Phrases
- Solos
- Layering of Grooves
Lastly, the different arrangements/styles can be strung together to form a larger performance-suite or ‘samba show’.
FORMAT
This music is all about 1) the groove and 2) navigating in and out of it. So our class time is used to 1) develop instrumental proficiency and 2) polish our musical-arrangements.
Class Structure:
1. Everyone learns and practices the same instrument together (e.g. Surdo, then Chocalho)
- Together, we practice...
- The basic part
- The call-out
- The call-in
- Break 1
- We move on to the next instrument(s) and repeat
- Together, we practice...
- The basic part
- The call-out
- The call-in
- Break 1
- We rotate instruments and repeat
4. The ensemble rehearses the full arrangement
Everyone has the opportunity to learn any instrument. However, when we begin to rehearse as an ensemble, instruments are thoughtfully assigned.
Though showing-up regularly to class is paramount, the ensemble's progress is determined by each individual's level of practice and study outside of class.
CLASS OUTLINE
6-MONTH
March - April - May |
June - July - August
|
CORE MATERIAL
Samba Batucada
|
6/8
|
RHYTHMS & STYLES
Below are supplemental materials for the Samba Group. Reviewing them regularly will exponentially increase one's musical development.
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HIP HOP
This rhythm was taught by Mario Pam of the Samba Afro group Ile AIye. It was presented to CSULB & HSU percussion students and faculty in Salvador, Bahia, Brazil in 2006.
Hip Hop (Video)
Current Parts & Sections
Repinique
Hip Hop (Video)
Current Parts & Sections
Repinique
- RLRL RLRL RLRL RLRL
- S--- S-OO S--S -SOO || R--- R-RL R--L -LRL
- RLRL
- RLZL
- xxxx >--- --x- >-->
- x-x- ---- x-x- ----
- x--- --x- --x- ----
- x--- ---- ---- ---- | ---- ---- ---- ----
- x-x- ---- ---- ---- | ---- ---- ---- ----
- x-x- ---- x-x- ----
- x-x- x-x- x-x- x-x-
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MARACATU
Maracatu Video Resources
The material covered in this class largely derives from my experiences with teachers Mark Lamson and Jimmy Biala. I was first introduced to Maracatu by Mark Lampson at the Cal State Summer Arts Programs at CSU Fresno, and later by Jimmy Biala for the San Francisco Carnaval contingent 'Sambasia.'
Many rhythms below are common within the Maractu tradition and can be found widely online, whereas some parts are modified to stratify learning (for example, the caixa parts).
Current Parts & Sections
Gonguê (Bell)
Other (Projected) Material
Alfia Breaks
Alfia Parts
Breaks
The material covered in this class largely derives from my experiences with teachers Mark Lamson and Jimmy Biala. I was first introduced to Maracatu by Mark Lampson at the Cal State Summer Arts Programs at CSU Fresno, and later by Jimmy Biala for the San Francisco Carnaval contingent 'Sambasia.'
Many rhythms below are common within the Maractu tradition and can be found widely online, whereas some parts are modified to stratify learning (for example, the caixa parts).
Current Parts & Sections
Gonguê (Bell)
- #1: L-H- L-H- LH-H L-H-
- #2: -L-- L-L-
- RLRL RLRL RRLR RLRL (Traditional)
- RRLR RLRL (Traditional)
- RZRL RZRL || RLRL RLRL
- R-LR L-RL (Generic)
- #1: R--- ---- LR-- LR-- | % | % | L-R- R-R- LR-- LR--
- #2: R--- L-R- LR-- LR-- | % | % | L-R- R-R- LR-- LR--
- #8: R--R L-RR LR-R L-R- | R--- ---- ---- ---- | R--R L-RR L--- ---- | R--- ---- ---- ----
- #9: R--- ---- -R-R RR--
- Caixa Intro: ---- ---- ---- | R--- ---- ---- ---- | R--- ---- R--- ---- | L-R- R-R- LR-- LR-- | R
- Caixa Intro #2: R--- ---- | R--- ---- LR-- LR-- | L-R- R-R- LR-R L-R- | L
- #8 Outro: | R--R L-RR LR-R L-R- | L--- ---- ---- ---- | R--R L-RR L--- ---- | R--- ---- --R- R-R- | R |
Other (Projected) Material
Alfia Breaks
- Break 1: R--R L-RR LR-R L-R- | L-R- L-R- LR-R L-R- | R
- Caixa Break: R--R L-RR LR-R L-R- | L-R- L-R- LR-R L-R- | R
Alfia Parts
- #3: R--- L-R- LR-L -R-L
- #4: RR-L R-R- -R-L R--- | % | RR-L R-R- -R-L R--L | R--L R-R- -R-L R---
- #5: R--- LR-- LR-- LR--
- #8 (Short): R--R L-RR LR-R L-R- | R--- ---- ---- ----
- Alfia Ride: L--R LR-R LR-R LR-R
Breaks
- End Break: -R-- R-R- -R-- R-R- |R
- Caixa Intro #1 or #2
- Our Intro: 8, 9, 2
- Open Ended Form
- Break 1 / Caixa Break
- Parts: #1, 2, 4, 5, Short 8
- #8 Outro
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SAMBA AFRO, ILȆ AIYȆ
Samba Afro Video Resources
The rhythms below were presented to a workshop of students by Anderson Souza on March 23, 2018 at Raízes do Brasil Capoeira Center in Santa Cruz, CA.
Anderson’s father is Neguinho do Samba (Obituary), founder of Olodum and former director of Ilȇ Aiyȇ. Anderson grew up with other master drummers so he learned multiple styles of Samba Afro, including an arrangement below which is a precursor to Ilȇ Aiyȇ’s contemporary styles of Samba Afro:
“This rhythm is Samba Afro before the emergence of the Afro-Blocos in Salvador-- they already played this rhythm. It’s very much known as the rhythm of Ile Aiye because Ile Aiye was the principle bloco that maintained this tradition.”
"At that time the ‘clave’ rhythm of Ile Aiye (played on the tamborim and repinique) was a provincial ‘cadence’.
There were also samba schools that combined black and indigenous cultures."
-Anderson Souza (Translated Annie Stafford)
Current Parts & Sections
Tamborim
Repique (two sticks)
L--- L-L- --L- L--L | L--- H--- LLL LLL | L-H- L-L- H-L- L-HL | L
The rhythms below were presented to a workshop of students by Anderson Souza on March 23, 2018 at Raízes do Brasil Capoeira Center in Santa Cruz, CA.
Anderson’s father is Neguinho do Samba (Obituary), founder of Olodum and former director of Ilȇ Aiyȇ. Anderson grew up with other master drummers so he learned multiple styles of Samba Afro, including an arrangement below which is a precursor to Ilȇ Aiyȇ’s contemporary styles of Samba Afro:
“This rhythm is Samba Afro before the emergence of the Afro-Blocos in Salvador-- they already played this rhythm. It’s very much known as the rhythm of Ile Aiye because Ile Aiye was the principle bloco that maintained this tradition.”
"At that time the ‘clave’ rhythm of Ile Aiye (played on the tamborim and repinique) was a provincial ‘cadence’.
There were also samba schools that combined black and indigenous cultures."
-Anderson Souza (Translated Annie Stafford)
Current Parts & Sections
Tamborim
- -x-x --x- --x- --x-
- *All styles follow one, or both, of these stickings
- RLRL RLRL RLRL RLRL
- L-RL R-LR
- O--S B--O O--S B--O
- O--S B-SO O-S- BS-O
- OOOS B-SO O-S- BS-O
- OOOS BSSO O-SS BSSO
- OO-S BSSO O-SS BSSO
- RLRL RLRL
- RLRL RLRL
- RLLR LLRL
- RLRR LRRL
- R L RL R L RL R L (Traditional)
- S>>> SOOO S>>> SZ-O || LRRR LRRR LRRR LR-R
- ---- --x- ---- -x-x | ---- --x- ---- -x-x | ---- --x- ---- -x-x | ---- --x- --x- -x-x | --xx --xx --xx -x-x
- ---- --x- ---- -x-x | ---- --x- --x- xxxx
Repique (two sticks)
- -x-x --x- --xx --x-
- ---- xxxx ---- xxxx | ---- xxxx xxxx xxxx
- ---- --x- ---- -x-x
L--- L-L- --L- L--L | L--- H--- LLL LLL | L-H- L-L- H-L- L-HL | L
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SAMBA BATUCADA
Current Parts
Caixa
1st Surdo
2nd Surdo
3rd Surdo
3rd Surdo Entrance #1 (Dudu Fuentes, CBC 2011)
3rd Surdo Entrance #2 (Fuentes, 11')
3rd Surdo Entrance #3 (Fuentes, 11')
Intros
Caixa
- R--L R-L- R-L- R-L- (Modified Part)
- L--R L-R- L-R- L-R- (Modified Part)
- RLRL RLRL RLRL RLRL (Traditional Part)
- RRLR RLRL RLRL RLRL (Traditional Part)
1st Surdo
- ---- x--- ---- ---- x--- || L--- R--- L--- R---
2nd Surdo
- x--- ---- x--- ---- || R--- L--- R--- L---
3rd Surdo
- ---- x-x- ---- x--x || L--- R-R- L--- R--R
- ---- x-x- ---- xx-x | | L--- R-R- L--- RR-R
- ---- x-xx ---- xx-x | | L--- R-RR L--- RR-R
- ---- x-x- ---- x--x | ---- x-x- --x- -x-x || L--- R-R- L--- R--R | L--- R-R- L-R- LR-R
3rd Surdo Entrance #1 (Dudu Fuentes, CBC 2011)
- ---- x-x- ---- x--x | -x-x -x-x -x-x -x-x | ---- ---- -x-x -x-x
- L--- R-R- L--- R--R | LR-R LR-R LR-R LR-R | L--- ---- LR-R LR-R
3rd Surdo Entrance #2 (Fuentes, 11')
- ---- x-x- ---- x--x | -x-x -x-x -x-x -x-x |%| ---- -x-x ---- -x-x | ---- ---- -x-x -x-x
- L--- R-R- L--- R--R | LR-R LR-R LR-R LR-R |%| L--- -R-R L--- -R-R | L--- ---- LR-R LR-R
3rd Surdo Entrance #3 (Fuentes, 11')
- ---- 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
- L--- R-R- L--- R--R | LR-R LR-R LR-R LR-R |%| L--- -R-R L--- -R-R | L--- LR-R LR-R LR-R | L-R- R-R- --R- -R-R
Intros
- Call In
- Call Out
- Break 1 (to Start / Stop)
- Caixa layering Intro
- Break 2 (The Turnaround)
- Break 3
- Break 4
- Break 5 (Hand Wave)
- Tamborim Design (Surdo 1 & 2 cutout)
- Timeout
- Thumbs
- 6/8
- Intro Call & Response x3 (HSU)
- Classic 5 ('Fanfarra' -Sergio Mendes)
- Fast C&R #1
- Fast C&R #2 ('Frog')
- Slow C&R x2
- Solo C&R x3
- Shooter Break
- Ending break (CBC 08')
- Ten
- Trucker
- Jorge's C&R False Ending
- Spectacular End Break (CBC 08')
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SAMBA REGGAE
Samba Reggae Video Resources
This rhythm was presented to a workshop of students by Marcio Peeters on May 23, 2017 at Raízes do Brasil Capoeira Center in Santa Cruz, CA.
It is a Samba Reggae arrangement performed by the Bloco Afro group Os Negões.
Current Parts & Sections
Repinique
This rhythm was presented to a workshop of students by Marcio Peeters on May 23, 2017 at Raízes do Brasil Capoeira Center in Santa Cruz, CA.
It is a Samba Reggae arrangement performed by the Bloco Afro group Os Negões.
Current Parts & Sections
Repinique
- x--x ---x --x- x---
- RLRL RLRL
- RLRL RLRL
- RLZL RLZL || RLRL RLRL
- ---- --RL ---- --RL | ---- --RL ---R L-RL
- --RL --RL --RL --RL | --RL --RL --RL --RL | ---L RLRL ---L RLRL | ---L RLR LRL --RL
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TAMANQUINHO
Video Resources
This rhythm was taught by Mario Pam of the Samba Afro group Ile AIye. It was presented to CSULB & HSU percussion students and faculty in Salvador, Bahia, Brazil in 2006.
Current Parts & Sections
Tamborim
This rhythm was taught by Mario Pam of the Samba Afro group Ile AIye. It was presented to CSULB & HSU percussion students and faculty in Salvador, Bahia, Brazil in 2006.
Current Parts & Sections
Tamborim
- x--- x--x -x-x x-x-
- FLRR RLRR LRLR RLR-
- B-SS B-OO || R-RL R-RL
- B-SS BSOO || R-RL RLRL
- B-SS BSOO BSSS BSOO || R-RL RLRL RLRL RLRL
- R--- ---- R--R L-RL | R--- ---- ---L RLRL
- --- x-- --- x--
- x-- --- x-- ---
- #1: L-L- HH-- L-L- HH-- | HH-- ---- !--- ----
- #2: H-H- -H-H- ---L L--- | L-L- HH-- L-L- HH-- | HH-- ---- !--- ----
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6/8
This rhythms below derive from the Bahian style of drumming (i.e. Afro Blocos like Ile Aiye or Olodum). Sources include Eugene Novotney (CSU Humboldt), Mark Lampson, and Marcio Peeters. The third surdo pattern (#2) was introduced by Dandha da Hora and, presumably, derives from Ile Aiye.
Current Parts & Sections
Repinique
Repinique
Current Parts & Sections
Repinique
- x-x -xx -x- x-x
- BSS BOO || RLR LRL
- O-S -OO -S- S-O
- RLR LRL
- RLR LRL
- #1 x-- --x --- xxx
- #2 x-- --- xxx xxx | x-- --- --- xxx
- Break: --- xxx --- xxx || xxx xxx xxx xxx
- --- x-- --- x--
- x-- --- x-- ---
Repinique
- x-x -xx -x- x-x
- S-B OO- || R-R LR-
- >-x -xx -x- x-- | RLR LRR LRL RLL
- --- --x x-x x--
- --- --- xxx xxx
- --x --- --- ---
- x-- --- --- ---
KEY
(R) Right
(L) Left (F) Flam -- Both Hands (Z) Buzz Stroke (>) Rim Shot |
(L) Low Bell
(H) High Bell (O) Open Tone (S) Slap (B) Bass Tone |
(Bold) Accented Notes
(%) Repeat Measure (!) "Hey!" |