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:
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
2. Everyone practices a different instrument, then rotates (e.g. half of class on Surdo, half on Chocalho)
  • Together, we practice...
    • The basic part​
    • The call-out
    • The call-in
    • Break 1
  • We rotate instruments and repeat 
3. Instruments are assigned to create a full ensemble
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

​Samba Batucada
​​6/8

June - July - August

​Samba Batucada
Samba Reggae Suite
  • Ijexa
  • Samba Reggae
  • ​6/8

CORE MATERIAL

Samba Batucada

Instruments / Basic Parts
  • ​Surdos 1 & 2
  • Surdo 3
  • Caixa
  • Chocalho
Sections
  • ​​Call Out
  • Call In
  • Break 1
  • Break 2
  • Chamadas / Paradinhas ('Calls' / 'Little Stops') 

6/8

Instruments / Basic Parts​​
  • Surdos 1 & 2
  • Surdo 3
  • Caixa
  • Chocalho
Sections
  • ​​Intro
  • #1 (Main Groove)
  • #2 (Surdo 3 Variation)

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
  • RLRL  RLRL  RLRL  RLRL
​Timbao​
  • S---  S-OO  S--S  -SOO || R---  R-RL  R--L  -LRL
Caixa / ​Snare Drum
  • RLRL
  • RLZL
4rd Surdo
  • xxxx  >---  --x-  >-->  
3nd Surdo
  • x-x-  ----  x-x-  ----
Surdo 1 & 2
  • x---  --x-  --x-  ----  
Surdo Breakdown​
  1. x---  ----  ----  ----  |  ----  ----  ----  ----
  2. x-x-  ----  ----  ----  |  ----  ----  ----  ----  
  3. x-x-  ----  x-x-  ----
  4. 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)
  • #1:  L-H-  L-H-  LH-H  L-H-
  • #2:  -L--  L-L-
Caixa / Snare Drum
  1. RLRL  RLRL  RRLR  RLRL (Traditional)
  2. RRLR  RLRL (Traditional)
  3. RZRL  RZRL  ||  RLRL  RLRL
  4. R-LR  L-RL (Generic)  
Alfia (Surdo)
  • #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 
​General Form Ideas
  1. Caixa Intro #1 or #2 
  2. Our Intro: 8, 9, 2
  3. Open Ended Form
    1. Break 1 / Caixa Break
    2. Parts: #1, 2, 4, 5, Short 8  
  4. #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
  • -x-x  --x-  --x-  --x-
Timbao
  • *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
​Caixa
  • RLRL  RLRL
  • RLRL  RLRL
  • RLLR  LLRL
  • RLRR  LRRL 
  • R L RL R    L RL R L   (Traditional)
Repique (one stick)
  • S>>>  SOOO  S>>>  SZ-O ||  LRRR  LRRR  LRRR  LR-R
3rd Surdo 
  • ----  --x-  ----  -x-x | ----  --x-  ----  -x-x | ----  --x-  ----  -x-x | ----  --x-  --x-  -x-x | --xx  --xx  --xx  -x-x
3rd Surdo (Variation -- a contemporary part)
  • ----  --x-  ----  -x-x | ----  --x-  --x-  xxxx 
GROOVE 2
Repique (two sticks)
  • -x-x  --x-  --xx  --x- 
3rd Surdo
  • ----  xxxx  ----  xxxx | ----  xxxx  xxxx  xxxx 
4th Surdo
  • ----  --x-  ----  -x-x 
Break 1
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
  • 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
  1. ----  x-x-  ----  x--x ||  L---  R-R-  L---  R--R
  2. ----  x-x-  ----  xx-x  | |  L---  R-R-  L---  RR-R
  3. ----  x-xx  ----  xx-x  | |  L---  R-RR  L---  RR-R
  4. ----  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
Breaks & Sections
  • Break 2 (The Turnaround)
  • Break 3
  • Break 4
  • Break 5 (Hand Wave)
  • Tamborim Design (Surdo 1 & 2 cutout)
  • Timeout
  • Thumbs
  • 6/8
 Call & Response Breaks Outro / End Breaks
  • Ten
  • Trucker
  • Jorge's C&R False Ending
  • Spectacular End Break (CBC 08')​
Samba Batucada Video Resources
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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
  • x--x  ---x  --x-  x---
Caixa
  1. RLRL  RLRL
  2. RLRL  RLRL
  3. RLZL  RLZL  ||  RLRL  RLRL
3rd Surdo
  • ----  --RL  ----  --RL | ----  --RL  ---R  L-RL 
3rd Surdo Break
  • --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
  • x---  x--x  -x-x  x-x-   
Repinique / Snare
  • FLRR  RLRR  LRLR  RLR-​
​Timbao​
  • B-SS  B-OO  ||  R-RL R-RL
  • B-SS  BSOO  ||  R-RL RLRL
  • B-SS  BSOO  BSSS  BSOO  ||  R-RL  RLRL  RLRL  RLRL
3rd Surdo
  • R---  ----  R--R  L-RL  |  R---  ----  ---L  RLRL
2nd Surdo
  • ---  x--  ---  x--
1st Surdo
  • x--  ---  x--  ---  
Breaks
  • #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
  • x-x  -xx  -x-  x-x
Timbao
  • BSS BOO || RLR LRL
  • O-S  -OO  -S-  S-O
Caixa
  1. RLR  LRL
  2. RLR  LRL ​
3rd Surdo
  • #1  x--  --x  ---  xxx
  • #2  x--  ---  xxx  xxx | x--  ---  ---  xxx 
  • Break:  ---  xxx  ---  xxx  ||  xxx  xxx  xxx  xxx
2nd Surdo
  • ---  x--  ---  x--
1st Surdo
  • x--  ---  x--  ---  
Pending: Texture #3
Repinique
  • x-x  -xx  -x-  x-x
Timbao
  • S-B  OO-  ||  R-R  LR-
Caixa
  • >-x  -xx  -x-  x--  |  RLR  LRR  LRL  RLL
4th Surdo
  • ---  --x  x-x  x-- 
3rd Surdos
  • ---  ---  xxx  xxx
2nd Surdo
  • --x  ---  ---  ---
1st Surdom 
  • 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!"​
Joe Mailloux M.M.
(831) 435-6813
​JoeMailloux@gmail.com
Lesson Hours:
Mon - Sun
​Tannery Arts Center
1040 River St. 
Santa Cruz, Ca. 95060