•
o
12 tunes for vocals, C, Bb and Eb instruments and rhythm section. Nicolai Glahder, Andreas Ramb0ll
Den Rytmiske Aftenskoles Forlag/Edition Wilhelm Hansen, Copenhagen
Copyright© 1988 by Den Rytmiske Aftensko1es Forlag/ Edition Wilhelm Hansen, Copenhagen Front cover layout: Janne Igls0 Photo: Ole Haupt and the authors Translation: Hugh Matthews Cassette recorded at Easy Sound Studio MCWH 30000 ISBN 87-7455-0918 30000 RM
3
FOREWORD This book is part of a series of session books intended to provide ensemble materia! for hitherto neglected fields. With the increasing interest in Brazilian music during the past few years, a need has arisen for concrete materia! for ensemble use- Brazilian music is more than just "Tristeza" and street samba. Our book should therefore be seen as a step towards filling this music educational vacuum. It is intended for ali those interested in Brazilian music, be they percussionists, ensembles, arrangers, schools, music seminars, workshops or whatever. Most of the 12 arrangements in the book have been thoroughly tested both in our own combos an d in a variety of educational settings. We hope that the way we have organised the contents of the book will make it as flexible to u~e, as is our intention. We would like to thank Ana Pompeia, Maria T. Keller, Karsten Simonsen, Henrik Beck, Per Gerike, Tubas, as well as the musicians who played on the tape. Enjoy yourselves! Copenhagen, a warm day in August 1986.
Nicolai Glahder
Andreas Rambo/1
, l
4
•~
•
l
~
~
• • • t t
t l l l
t
• •
•t • '
• •
•
•
•
• Carnival: Spectator at the Samba-school Portela's parade, Rio de Janeiro
Photo: Nicolai Glahder
5
CONTENTS Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Glossary........................................................................................ Notation and playing technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . How to use the book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6 8 9 10
CONSIDERAçAO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
ENERGIA......................................................................................
19
MULHER QUE NAO DA SAMBA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
NAO VOLTO PARA CASA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
ROCHEDO.....................................................................................
37
TRISTE........................................................................................
43
DINDINHA LUA................................................................................
49
NO SOM DA SANFONA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55
PAPO FURADO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
61
MERRY GO ROUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
67
TODA MENINA BAIANA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
75
LAGRIMAS DO FOLAO
81
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
89
, t 6
t
INTRODUCTION The purpose ofthis book is not to provide a complete picture ofthe multiplicity ofBrazilian music, butto presenta small selection of the most typical styles. It goes without saying that a collection of 12 tunes from a country almost twice the size of Europe can hardly be sai d to be exhaustive, but we think that our selection gives a good idea of the characteristics of the various styles, as well as the differences between them.
Another aim of the book is that the tunes should function well in practice; it should be possible to play them according to the band's leve! of proficiency an d with varying instrumentation. It should also be possible t o alter the form of a tune, especially to add solos or to omit difficult passages. In order to do this, each t une is laid out so as to include melody, chord symbols, basic figures for chord instruments, horn parts in C, Bb and Eb, plus percussion. Horns and vocals can easily be doubled up and raised or lowered by an octave, and variations and/or alternative figures and rhythms are suggested for both chord and percussion instruments. In addition to this, each tune has a commentary page, and finally, ali the tunes are recorded on cassette. Seven of the tunes have Portuguese lyrics, an d we have chosen to retain the originallyrics since Brazilian music is to su ch a high degree vocal music, and because of the beauty of the Portuguese language. Singing Portuguese is not exactly daily fare for non-Latin throats, and this will cause a few problems. To help you to avercome pronunciati an problems, we h ave written the lyrics in phonetics beside the originai Portuguese. This should be reasonably easy to understand, but we also strongly advise you to listen to the tape.
t
•t ~
~ ~
• • • • t t
t t
The main idea of the translation is to give the singer an understanding of what he or she is singing, an d al so to enable you to write new lyrics based on the translations.
t
Styles covered by the book
t t
The reperto ire of the book covers a broad spectrum of Brazilian musi c: samba de parti do alto, samba de salào, sambachoro, bossa nova, plus the North-East Brazilian styles: forr6, baiào, afoxé, maracatu and frevo. Samba is the name of severa! dances, and also refers to the places where people go dancing, and the music played there. From the samba de roda, which workers from the state of Bahia brought with them toRio a t the end of the las t century, carne the samba de cidade (city-samba). It was developed by the samba schools which carne into being in the 1920's. Samba is played in 2/4, with the emphasis o n 2. The basis of the samba rhythm is the pulsating beat of the surdo which, like a heartbeat, keeps the other rhythms together. Samba de parti do alto is a type of samba de cidade, wh ere a lead singer improvises verses which alternate with the chorus. The most important instruments are pandeiro, cavaquinho, surdo, tamborim and cuica. Particularly characteristic of the partido alto is the basic pandeiro rhythm, exemplified in the tune called "Rochedo" (see p. 37). The melodies are simple, and the melody of the verse and the chorus are often identica!. Parti do alto is stili very much ali ve, an d is especially popular on "os morros" (the small mountains where Rio's oldest slums are located). Artists such as Beth Carvalho and others have recorded severa! partido altos. Samba de salào [samba d3i sa'laung]. The samba became popular in connection with the carnival in Rio, and wellknown composers gradually appeared. The samba moved indoors to the big gafieiras (public balls), and the stanza/ refrain form was supplemented by a short instrumental introduction. The samba rapidly became the most popular style in Brazil. The rhythm of the samba de salào (saloon-samba) is lighter, and flows more easily than that of the parti do alto - the lyrics, the melodies and the arrangements are more advanced. It is accompanied by guitar, cavaquinho, surdo, percussion, bass, piano, drums and horns. Samba-choro. Choro carne into existence as early as the mid-19th century. The orchestras consisted of 6 and 7-stringed guitars (violào ), cavaquinho and a wind instrument. The new style of the choro orchestras was characterized by the way
t
t
,,
7
they played the old genres (eg. the polka). Choro is light music, less sorrowful than samba, and it often has breaks or odd leaps in the melody. The rhythm is more even than that of the samba, an d it seems altogether much lighter, among other things because ofthe pandeiro accentuating the balance strokes ("and'~strokes). The form is usually A-B-A-C-A, but the A-B form of the samba does occur. It is then called samba-choro. Bossa nova. Samba de salao has formed many different variants together with other genres like, for example, the romantic cançao (meaning "song"), which has its roots in Portugal. Samba-cançao is a slow 214 rhythm with the accento n l, and in the early fifties it formed, together with American cool jazz and Cuban bolero, the basis of the new bossa nova. Bossa nova was part of an intellectual movement - it never became generally popular, but formed the basis of new styles, and it is stili played in bars and clubs. Bossa nova is played by smaller bands which basically consist of a singer accompanied by guitar, piano, drums an d maybe light percussion. The guitar accompaniment is an imitati o n of the tamborim figure of the samba. The harmonies of the bossa nova are inspired by jazz with complicated modulations with resulting complicated melodies. The lyrics, generally intellectual in nature, are sung in a relaxed, flowing fashion. Forro [ f:>'h;,] Forr6 is the name of a North-East Brazilian dance rhythm an d the public ball. Forr6 is traditionally played by a so-called trio nordestino, which consists of a zabumba, accordion, triangle and - of course - a singer. The rhythm is a distant relative of the samba, butit has the accent on the first beat of the 2/4 bar (the open stroke of the zabumba). The triangle and the accordion play on the off-beat. Together with the basic rhythm, this makes the forr6 a very supple and elastic rhythm, which seems to stop in the middle of the bar. Agogò, drum set, bass and guitar can also be used in addition to the traditional instruments. The melodies are often quite fast (in sixteenth notes/semi-quavers). Baiào [ba yaung]. In 1945, Luiz Gonzaga launched a new style which he called the baiao. It had solid roots in the traditional baiao (forr6) from North-East Brazil. What Luiz Gonzaga did was to combine traditional baiao with the samba, so that the accent (the zabumba's open stroke) was moved from the l to l-and-a- that is, into the middle of the bar, just like the samba. The instrumentation is the same as in the forr6, and the off-beat rhythm is also vita! to the baiào but, because of the zabumba's rhythm, the baiao is heavier (like samba). The baiào should be played with a gently swaying feel to it. 1
Afoxé [afoshé]. Afoxé is an Afro-Brazilian carni val pageant which has links with the mystic Candomblé religion. Afoxé com es from the town of Salvador in Bahia, wh ere the biggest procession, "Sons of Gandhi" has as many as 3,000 participants - all dressed in white. The musi cis African-inspired and the participants sing mainly in African languages. The instruments used are atabaques (congas), ilu (a small drum), afoxé (ca basa) and ago go- and trumpets which play fanfares to herald the arrivai ofthe procession. The rhythm has a certain tenacity to it, but it stili has to be supple (it must not drag). Maracatu. Maracatu is a pageant in memory of the African kings in the form of a processi o n consisting of the king and his court, followed by a band. Maracatu, like the afoxé, has links with the Candomblé cult. The music is bombastic and majestic an d it should have a feeling of pleasure and dignity. The lyrics are usually sung alternately by a male soloist and a womens' choir (falsetto voices). The instruments used are bombo, caixa and agogò- and in certain cases a trombone. The bombo is especially dominant, and severa! bombos improvise o n a basic rhythm, while the agogòs and caixas play a constant rhythm. Frevo. In North-East Brazil, and especially in the Pernambuco province, this kind of march is played at the carnival. The Frevo is often played quite fast and is usually instrumental. The music is generally played by horns with a percussion accompaniment (surdo, caixa and pandeiro). In Salvador (Bahia) the so-called trios elétricos play frevo with electric guitars and percussion. The frevo should be played "rigidly" but rather more lightly than an ordinary march.
8
Glossary This list of expressions and instruments includes both well-known and more obscure instruments. There are a few that are not mentioned in the rest of the book, but they are included here far generai information. Afoxé:
Cabasa - a calabash covered with a net of shells. Shaken or twisted.
Agogò:
Normally a double beli played with a meta! bar or a stick. The conica! bells are joined by a bent piece of meta! andare usually tuned a fourth or a fifth apart. Some agogòs have 3, 4 or 5 differently tuned bells.
Atabaque:
Brazilian wooden drums corresponding to the Cuban congas. As in Cuba, they are available in three sizes: lé (small), rumpi (medium) and rum (large).
Batucada:
Samba played exclusively by rhythm instruments. Batucada is played bot h by large street-samba bands and by small groups in bars and such places.
Berimbau:
Bow-shaped instrument with a meta! string and a half calabash attached to one end. The berimbau is played with a stick, the so un d being amplified by the calabash. A caxixi is held in the stick hand, and the tane is adjusted with a coin or stone held in the other hand.
Bombo:
Like a zabumba (see below), used in Maracatu. Played with two beaters on the upper head.
Caixa:
Side/snare drum.
Cavaquinho:
Small, ukulele-Iike guitar with 4 meta! strings. Played with a plectrum.
Caxixi:
A shaker made of basketwork built on a base made of a piece of calabash. It contains pearls, dried beans or the like. Usually played in pairs.
Chocalho:
Means rattle, the term applies to various shakers.
Cuica:
A single-headed drum with small thin wood or bamboo stick mounted on the inside of the head. Played by one hand rubbing the stick with a damp piece of cloth, while simultaneously altering the tension of the head with the other hand. This produces the cuica's characteristic "bark".
Ganza:
Shaker made of a meta! tube containing ball-bearings, stones or seeds.
Pandeiro:
Tambourine with a head. Played with the hand.
Reco-reco:
A piece of bamboo with ridges cut across it, scraped with a stick. Samba orchestras use meta! recorecos with springs instead of ridges.
Repenique:
Taut side drum, like a caixa, but taller than it is wide. Played simultaneously with both the hand and a stick o n the upper head. Its ton e is high an d penetrating, making it especially suitable for use in streetsamba groups.
Surdo:
Double-headed bass drum. Contrary to the zabumba, the surdo is taller than it is wide. Played with a beater in the right hand, while the left strikes or muffles the head. Both hands strike the upper head.
Surdinho:
Small surdo, plays variations.
Tamborim:
Small frame drum played with a stick. If it is to make a lo t of noise, it should be played with two plastic or wooden sticks bound together at one end.
Viola:
10 or 12 stringed guitar with meta! strings tuned in pairs. Somewhat smaller than a standard guitar.
Violào:
An ordinary guitar, but it can be fitted with 6 or 7 strings. The 7-stringed instrument has o ne extra deep string. In samba it often plays an ornamented bass, a combination of bass and solo improvisation.
Zabumba:
Flat, double-headed bass drum. Played more or Iess horizontal with a beater in the right hand and a thin stick in the left. The beater plays the basic rhythm on the upper head and the stick plays the counter-rhythm on the lower one. A piece ofthick cloth is taped to the centre ofthe upper head where the right-hand stroke is made.
9
Notation and playing technique Tbe following section is intended for tbose playing percussion and cbord instruments. After a short introduction to tbe notati o n used in tbe book, tbere is a description of tbe drum set notation, followed by a description of tbe playing tecbnique for tbe zabumba. Tbe reason for our paying special attention to tbe zabumba is not to bigbligbt tbis wonderful instrument to tbe detriment of otbers, but simply because tbe tecbnique used is not described elsewbere- not even on tbe commentary pages tbat refer to the tunes wbere tbe zabumba is played.
>
Accent, always written above tbe accented note.
+
Closed or muffled stroke. Written just below tbe relevant stroke. Wben referring to caxixi, it indicates tbat the pearls sbould hit the basketwork sides.
o
Open or ringing stroke. Written just below tbe relevant stroke. When referring to caxixi, it indicates tbat the pearls sbould bit the base.
R,L
Right or Left band stroke. Written below the stroke to be played.
A,B,C,D
Refers to the type of stroke to be played on the pandeiro. Written below tbe relevant stroke (see also p. 37).-
A stroke on metal. A stroke which is purely felt as an auxiliary stroke, or played so softly that it goes almost unbeard. Denotes a movement towards the body wben playing afoxé. Denotes a movement away from tbe body when playing afoxé.
J
Roll.
gva
One octave up.
gvb
One octave down.
The Drum set is written on tbree lines: l. The upper line is a cymbal (cymb.) and/or bi-hat (h.b.). If both are played, cymb. is just above, and h.h. just below the line. 2. The middle line is the snare drum (sn.dr.) 3. The bottom line is the bass drum (ba.dr.). Hi-hat foot-strokes are written as x-notes just below tbe line. As mentioned above, the Zabumba is played with a beater in the right han danda thin stick in the left. The muffled stroke on the zabumba is tberefore not played as it is on tbe surdo (wbere tbe left band muffles the bead while the right makes the stroke), but by pressing the beater against the head after t be stroke. Tbis tecbnique is used even if you do not play with a stick in the left hand, tbough in tbis case you could muffle tbe head with tbe left hand, on 2-and (see page 66). To give your zabumba a good sound, you can tape a piece of thick clotb to tbe centre of tbe upper head wh ere the right han d stro ke is m ade.
10
How to use the book Each of the 12 tunes in the book is divided into the following 5 sections: 1: The commentary page 2: The summary page 3: Piano, guitar, bass 4: Horns in C, Bb and Eb 5: Percussion l. The commentary page has a brief summary of the style an d feeling of the number. The various styles used in the book are described in more detail in the introduction. The album title and the recording artist are also stated' h ere, although many of the records will be difficult to obtain outside Brazil.
Following this are instructions regarding the way to play the number, with comments on form, horn parts and accompanying instruments. This section might include suggested solos where these are not incorporated in the tunes themselves, suggested alternative instrumentation or comments about phrasing, etc. Finally percussion- comments o n the various instruments and their playing techniques, where these are not immediately obvious from the percussion page. Only specific techniques are described here. For generai technique, refer to either Birger Sulsbriick: "Latin American Percussion", or Andreas Ramb0ll & Nicolai Glahder: "Gadesamba'' ("Street Samba"). Both are published by Den Rytmiske Aftenskole's Forlag/Edition Wilhelm Hansen. 2. The summary page contains ali that is necessary to understand the structure of the number and to give you an idea of its form.
The clef, key and tempo stated a t the beginning of the number apply to the entire riumber. A new clef is only given ifa change occurs. Ali the tunes are written in 2/4, as is traditional in Brazil, and there are two beats to the bar. For this reason you have to accustom yourself to the "anticipations" being written as sixteenth notes (on the an d-a) and no t - as in 4/4 - as eighth notes. Horn introductions are written in ordinary notes, whereas piano introductions or the like are written in cue size (smaller notes) in parentheses. These are followed by the melody, with the lyrics and chords. Percussion breaks and pick-ups are written on aline just below the main notation system. The lyrics of the first verse of vocal tunes are written here while the complete text, including a phonetic version and a literal English translation, can be found on pages 89-94. Of course it isn't easy to sing Portuguese, but it should be possible to catch the correct pronunciation with the aid of the phonetics and the tape. The translation will at the same time give you an idea as to what the lyrics are about. The melody of any ofthe vocal tunes can, of course, be played by a melody instrument, which is why we have written the melody in Bb and Eb whenever the space allows. At the bottom of the page we have given the form of the number as it is played on the tape. The following pages- the instrument pages- are, as far as this is practicable, set up so t hat everyone can see the p age applicable to their own instrument as well as the summary page. 3. Piano, guitar, bass. This page shows the basic rhythms played by the instruments in the various sections, plus a review of the chords used. In certain cases further suggestions are made as to voicing, bass lines, etc.
11
4. Horns in C, Bb and Eb. Half of the tunes in the book are vocal with a special horn arrangement, which is written in both C, Bb and Eb. The other half are either purely instrumental, or vocal without special horn arrangements. In these, the horn parts are transposed versions in Bb and Eb of the summary page, and there is no separate part in C.
Ali the horn parts are written in dose voicings, but there is nothing to stop you changing them, doubling them or raising or lowering them by an octave. lt ali depends on your actual instrumentation. Most of the arrangements have a maximum of 3 voices, although a few have 4. When reducing the number of voices from 4 to 3 in melodie sequences it is usually best to use the three highest voices, whereas in chordal sequences it is bes t to use the 1st, 2nd and 4th voi ce (working from the top, the upper voi ce is the 1st). When reducing to 2 voices, it is usualiy possible to use either 1st + 3rd or 1st + 2nd voice. A single horn will obviously play the 1st voice, unless you forma "horn section" consisting of, for example, 2 guitars and one flute - 3 violins - or flute, violin and piano. The arrangements could of course be played by synthesizer, organ or other keyboard instrument. 5. Percossi o n. At the top of each percussion page, o ne or more "scores" contain the rhythms for each instrument as they
should be played in the various sections. Below these are variations or alternative rhythms for the individuai instruments, plus optional breaks. Only a few breaks are shown here, since tutti breaks and surdo/zabumba pick-ups are included in the percussion lines of the summary page. The drum set is always o n the first line of each rhythm "block", regardless of its significance in the relevant number. The remaining instruments are otherwise listed according to their importance in the style concerned. The notation used is described in more detail on page 9, as is the playing technique for the zabumba. Other techniques are either described in the text or as previously mentioned, in "Latin American Percussion" or "Street Samba". You cannot always see the percussion page at the same time as the summary page, so we recommend tha!t you memorize the rhythms, and then follow the arrangements on the summary page.
• •
12
• • • ~
t
•• • •
• • • • • • • • •
~
•t
t t t
4
4
4
Peanut seller in Porto Seguro, Bahia
Photo: Nicolai Glahder
13
Cartola/ Heitor dos Prazeres
CONSIDERAçAO
Samba de salào
Consideraçào is a samba de salào, i.e. a samba fora small group (as opposed to a street samba), but more like a ballade than, for example, "Mulher que nào da Samba". It is played with the emphasis very much o n 2, but stili with a forward-leaning feeling. lt must not be played too laid back.
Recorded by Beth Carvalho on "Sentimento Brasileiro". lnstructions: The tune is ideai for soloing; you might for instance repeat the A section for improvisation. The horn part in C is just to the right of the summary page so as to simplify comparison with the melody. On page 18 we have added a complete bass part, which shows the most common samba figures and techniques. Percossio n: On the tape, the tamborim does not start until the B section. On repeating the A section (with chorus) after the B section, the whole percussion group naturally continues to play as in B. The pandeiro's introductory trill is made by pulling the pandeiro towards the body with the left hand (so that the bells produce the trill). This is quite difficult, so you can leave out the trill if you like, and play a standard pandeiro rhythm. The pandeiro D-stroke in the variation is explained on page 37. Further information on pandeiro technique can be found in "Latin American Percussion" or "Street Samba".
14
J = 80 CONSIDERAçAo
SUMMARY IINTRO]
Instr
~i
_,~_____.......
:ij;tk#r
E1
•
""'
1ttrrccg-liçJE A7
E7
l
·5 [AJ Dtr~i
Voc
~
l
fì(Vr
r
Eu nào
go
E1
Dmi
TE r__,-"'J
fai -
taste a consi - de -
7
Il
me
c
l • 0 F0'1t .tl' l ~
1~ tCfl f O
tu
que
f:-
__A1
1r· Jiì1'r ti C*crJ 1t l").
--
mefize - - ste
t:Dif~E
nào tem
l,_
sa - bes amar
A-,
.., "
rtif{
~
G
Tu nào
D.wtj..{
Bb
z=E k:tl! r r rr 1~ v· t 1
r~ 1
clas-si - fi - ca - çào
4'~
l
- stet
___J}mi
Ar
raçào
Gtn;
11
E;t
iUff -
C{
Dmi
"'"'
pa -
-
...-...
E1
lcr.tt l :#b,J'Ibf!r IS.C Ir I([J'f l t il'IE!tfg1'
--,_ ,_
7
- ra
que
tens um
t l~
Deus
O melhor
, E
a
_ raçao
A1 -+"JI~Dmi
E1
se - pa -
[ 1st !ime
_
_
eu nao
only
Dm~
--
eu nao
A1
TuttE ;Rr: RETI Ur que
vou
senb- tir
mui - ta
Tr c, fff1fr rrr te
Dtni7
--~·
1?9 ~
go
Jamais
j~CO-D-----.AI-$- !Ànq """'
Il cr;tr l ~ . O melhor
fanis
. set
~
--
dbs os de - feitos teus
~
E9
"'""'
rlbC ftr !Tec f~Pr !1 E
força
~
- da
dou- te es - te
~
Dmi
A.._,
ca - sti-
A
O
T
que fi-
- - Er 7. ;
u
kflRE=t1èrtrortEixJ ,r:rw~Ls.
hflfr
zeste
l€lttJtr +24
.,.
comi
A1
t
tre n6s dois
-go
Dm~
eu nào
,..
eu nào
-----...
se -
pa
- ra -
çào
f':'.
1t *btffF-M.=iff~-·ffe-=SJir ~23 IINTROI
se - pa
-
raçào
[A] [A] [ID [A] ICODAI
-$-
cE :tf
~, r t±f E a
A?-...
É a
FORM:
Com to -
f=l-
u~·
E;t
111 t
7·
de
a ou- tra
en -
Dtnq
-
Dm;7
lkir-ftrlè·:r -
1r
ten -ho a- miza
~ l ~ rfjff E
]
dois
rDJ)JJ >era:
lt D~r~11
Ar
tre n6s
Dmir
sau - dade
~B.:~
Dm%
Ja
en -
!btf±f7?Ef;1r .iEi±J flf:!':il f
llil
~C
At meu
ltDmi
Ar
/rr
co - raçao
=======-
15 CONSIDERAçAO
HORNS in C [INTRO[
4Pt rzmtfjtr Q' bJ:fr l, p!l' J1
~CODAl
f
:\ l
Il CAVAQUINHO Basic rhythm
Alternative
~l
IJL:{JJ._,t._____.._t__._JIJ_._.,. --#+----1-l#-P---4.L--.#-P-#-'.,.
PJ~tl#-,..--.{D~.,.H..,~:IJ
JILI:{JJ..,..,.f.._____.#_.,. ...JD.,_,.,.._.•,__hl
BASS Basic rhythm
(see bass part page 18)
CHORDS
[INTRO[ ~Il D,;
l E7
;1.
l
l
l A7M> l
l
l Dmi
l E1 A1 Il
l
l l>mi
l E1 A, l
/.
~ A7G>9>
11: Dm;
l
l
l E1j&
l
'l
l
l
l
Dmi
l
;1.
IC
l
;1.
l B~4
l
l A1
l
l
D7
l P7/c
l Gje,
l
;.
l &""%"l
;1.
l ()mi;,;\
l A1
l
Drt~i
r-:r--· l ;1.
l A1M) l
l EyB l ;/.
;/.
;1.
~rz-----·--~
l Dm i l E~ A1 :Il
l l
Dmi
[ID Il C
l
l Dmi7
l Ebo/G
/.
l
Dm~
l A7
l I>M~7/r l E11 'f
~[CODA[ Il ~ l D~>~fc l EW, l /. l A1a,q1l
~
l
l Dmi7
l Prno/c l B"A>
l A1
l l>mi
l B"A A1 l Dmi
l A1
Il
1':'1
;1.
l Dmi l Pmjt l E}i l A7 l
P..,i
l
;1.
l Dmi Il
16 CONSIDERAçAo
HORNS inBb
l t l
32
w·
ICODAI
t 1 ±=
"!
[A]
io
Il
r
;f&6f :[ j
l
HORNS in Eb
l
[A] l
Il ICODAI 11
[ID
32
~
-
l
Il
[A]
/6 l
·w
r· d
l
Il
32 l
l
3
l f.
r : ±=
2J
17 CONSIDERAçAo
PERCUSSION
~ Drum set
IINTROI
[Al
[Al
1.
2
"
[ID
ICODAI
h.h.l
sn.dr. · (rim) lf-.--~~---+---~~---11 ba.dr. lf-·--~~---+---~~--.JI
Surdo
o
o
R
R
Pandeiro
o
R
+
R
t
R R.
R
-+----T-- ---
lf-'-oi+!L.o+f-1+-.ol+,.._,o-.olo'--1+---#-+
-++++oO++
(see below)
ASf>AA~BA
AB6AABI3A
> >
>)
Ganza Tamborim
VARIATIONS AND ALTERNATIVES
Drum set can also play:
Pandeiro (eg. in
can also play:
!Al 2nd)
>
> >
>
ll:liDJ JJ J l
:Il
"/
-t-+++oo++
A13CDA
Be
B
-3-
Pandeiro trill is played: (see text page 13)
Surdo varies rhythm in IAJ2nd:
J~I:#{ljj~+#+~+*~~AS~o~~i~l--~7~~- --1 A B
A
A 6 .. -+ B A
" r---:9 I l
~~--!R
and marks the end of periods (transition to new materia!) like this:
S
LR
R
"r---=l I l
l
;:--=J J. ~
~Il
+o
R
LR
-10
L
Il
,.
~-~+o~~ R
LR
R
L
CRl
R
L
CRl
R
18 CONSIDERAçAo
BASS On the tape, the bass plays a number of variations originally played on the guitar (violào). The guitar plays a combination of solo improvisation and bass throughout the number. We have taken a couple of these variations and included them in the standard bass part (remember the heavy accentuation on 2 throughout).
IINTROIDmi
@41
A~lD")
l /. l (d1:J l
(JJ,..
E%
[A} Dm;
JfiJ
l
l J. ]J l
c
iJj D;
re
IJ)J J =z= l gJ l (JJ Il
Al-M)
IIft J l
;.l.
Dm i l
t.
?
Dm i
v.
l
ft; GfB
Dik
J#IJ l~f1]
Dtt~i
E1
lfJJ Dmi+
A7-$-
l (JJ
Dmi1/c
WA
Dm i 7-
A1
:Il
Eb9/ G
10A1AAiJ 3RIJ H 31uglr-IE.n DIYli%-
Eb~
Dm;
B~
A1
1ur tl'uuluul AJ dlur
FORM:
IINTROI
[AJ [AJ [ID [A]
ICODAI
A1
Dmi
l
f]j
Il
19
Sivuca/ Glorinha Gadelha
ENERGIA
Samba
Energia is a straight down the line, hard-hitting samba - hence the name. Sivuca usually plays it on the accordion and sings scat in unison - both in the theme and in solos. This tune is an example of the newer samba style, written as an instrumental with chords and chord progressions heavily influenced by jazz. Solos are very important, unlike both the traditional samba and the newer bossa nova wbere less importance is attached to solos. Energia is on Sivuca and Glorinha Gadelha's LP "Sivuca". Instructions:
The piano chords are more extended than shown by the notation, this being normal practice in newer samba (and bossa nova). This influence comes from jazz. The tune is ideally suited to the presentation of a lot of different soloists, an d the solo section provides an excellent basis for percussion solos. Percussion:
On the tape the drums play a pick-up on 2 and 2-and. The cymb. rhythm of the drum set in the variations is identica! to that of the tamborim. The tamborim rhythm on the tape varies a lot and is very prominent (in the rhythmic sense). We bave made use of this opportunity (and the space) to show severa! tamborim variations. The tamborim usually plays a lot ofvariations, especially when there is only o ne tamborim player. In a fast samba like this o ne it helps to force the tempo, an d it should be very prominent on the beat. Ganza- which is not on the tape- is often played in samba with a clear accentuation of the upbeat, of the and-a just before l and 2, as it is written. This upbeat should be more accentuated than the following l or 2 beat.
20
J = 120
ENERGIA
SUMMARY
IBREAKI ISOLO l
..
~- f:-~
• .
Il: Cmi;
l F;r '
9 )
:11 ad lib.
f-
Il b[$ f 'fl §_o:r T r l "JrJ ;--n.J;m Jc>) 11 5UR.DO
Il
l -
7
dr. fili
'1 .
l
-
Il
CHORDS [A] ~ 1\: f:PA
l
l
Cmi1
l A~A
Cmi1
l D"1
l
l &mi1
l Go P;;
l F1
&mi-;
l
Cmi7
l
1
l
l
F~
(.f=>) :1 ad lib.
fllLJF't JP\tJ ~~
ICODAI
~i:
b
~ ---1- ~
J?~i Il ]D r FORM:
[:
· ..
i@·+aJ p-L
[A] [s-OLO]
Fmi:f
dr. fili
l BREAK l :]
ad Iib.
-
l f111 1c~9) .~
l
l BREAK l
ISOLO l
Il:
A"'A
-
[A] ICODAI
1-
~ :11
21 ENERGIA
PIANO [A]
E~
~P'bU
'IJ
E~
l
Cmi;
ISOLO! Basic rhythm
Il)
7
Gmijl
I~J;
ii i
l
l
A'f,A
i
D~;~
llf~
Cmi t
Grrri1
c,\.1
Il$
b('
l F;
14~
-
F1~ l~
l
g: lj lb' ;g
,.
=z:=JI
j
l
c~
F'1
n n rTI n n rD:II ll:iJ·
-(j}
B\.1 •7
Cllli;
l
svb~)
!="mi '1
Cmi1
l
ad lib.
l BREAK l
4'%11JPDif;;c;" , •J Variations for ~XQJ
Suggested voicings in
var. 1:
lSOLO l
GUITAR etc
Basic rhythm
ISOLO!
Cmì1
Basic rhythm J
BREAK
Il )
'!
f'l
Crriq:
Cmi1
F9
n l n ;DJ)). n l n rDJ ~ICODAJ
J
"Il iD i]?~ ~ ' Il
ad lib.
.
.
2
~IIJP~W·I ...
BASS [AJ
Cmi1
Ebb.
9\MII: F F Ebt:. >
Ab.t.
> GrY>·q.
rtrr 1w. j2 1Jd/
>
c})1-
1Dg
>
1
!
l
Bb;t
IJlJ> IJ ~ s~>1
Fmit-
tng aoE
Fmi;t
~
lflpFL~
22 ENERGIA
HORNSinBb
lf
HORNSinEb [A]
f
,11:
g
-
1;!7 4=JWE~ -ç- -%~ __..
l BREAK l
ISOLO l
Il: Ami; ICODAI
l
D7'9'
'l
adlib.l$1 ( .
* (J l bf = -~ ~ ~
~
l:\
~f!{Gfi-~tLt~=:_;J=4 ~
~ =Il
23 ENERGIA
PERCUSSION
Drum set
sn.dr.
~:.b·1
:
ba.dr.
·
.
R L R
~~ ~~
L
·--+---~'---------11
{
-#-_.....- - # - - \ - - - - · - - - - - 1 1
.:·
7
Il----'-~~-.:__-+_
ll----#-.___---#--1--'---#--+-
Surcfo Tamborim tf-41+~+'--#+~+,_,_o~o. .+~+'--+-----14----_:_jl
Pandeiro
ABCSABCB
>
>
>
>
Ganza (optional)
VARIATIONS cymb.
Drum set - variations for [SOW]
h.h. { sn.dr. ba.dr. h.h. (foot)
Tamborim - variations for both
1
[A]andr-1so-w----,12.
D JJ
~
Il
s.]]
JTJ JJ
9.11
Jm JJ J J i Jrn J J j J Il
inJL,n.
Variations 3 and 4 are ideai at eg. the beginning of A.
8 and 9 are the same rhythm, but in 9 the balance strokes, played by the fingers of the left hand, are written as x~notes.
24
Taro/ p/ayer of the Samba-school Portela, Rio de Janeiro
Photo: Andreas Ramb0ll
25
MULHER QUE NAO DA SAMBA Paulo Vanzolini
Samba de salào
This is a traditional samba de salào, as it might be played at a gafieira. Samba de salào should be played with a supple feeling to it, with the accent on 2. This tune was recorded by Carmen Costa and Paulo Marquez on the record ''A Musica de Paulo Vanzolini". lnstructions: The form can be extended with solos in far example A, B, and C. The piano is not recorded on the tape. The cavaquinho plays a set rhythm throughout the t une, so the piano can be played quite freely (with a lot of fills and variations - see PIANO). If you only have one singer, the lower voice in C and CODA is the one to sing.
Percossion: The drummer can play the same accentuations on the hi-hat/cymbal as he does on the snare drum. This also goes far variations. The tamborim is not recorded on the tape.
PERCUSSION
(can be varied)
Drum set
Surdo >
Pandeiro
+ + + A 13 B
+
JJJ)-i~--*----,-tl o A
A
+
o B
+
& A
Tamborim
VARIATIONS Surdo +
R
o
+
o
R
R
R
26 MULHER QUE NÀO DÀ SAMBA
--::::::__ nos,
um pou- co mais
~
me - nos do
que
mais
re - eia - ~
re-gu-lar
mJ J an ala_______l) • d a
_ei rtrJ aatF--=~:J ;lJ. sem
Tao
'n
CW~i
!!""m
po - rém
D1
T
mas fran - ca --
nao sa - tis - faz
&7
LJ J
v
~
men - te,
[j!] Crni -
ser - ve
de que
tf2
1'J
j
da se
fos - se
w JliJ
J'}IJ ~
W
~ ta
t;n-::_
G1-
paz
(VI'li
Jl/J
jJn
bra
va po - rém com -
D~
Cmi
r t ;T
j ) jl ~
pe - te n-_____:____
A - m-
te
se~a
- tras
r ;;Fj w a 1Ji_tJ J dEa JfJ tnv w. =w= a O-Lll w aIDJ , ;J w t} J v 1 #JJ 491iP1if nf) /J il: ~-
C1
~r
/ttdF da
bron
Fmi
-
ca vi
1
se~a
- es -
pa~ou
rou - pa lim -
C:r;
--~
1
-
ca - fé quen -
te
ou se fos-
Cmi
se
ig - no - ran _____..-
te
cl a-ro e~ar- dente no
no
es - eu -
ro
eu
lhe~as
- se
-Ej}
7
~
gu ro, [!J Fmi
_ ;:;ao
~ fa_ Gri _ a
fai -
tar
paz
li.C=:--------C---·~
Mul - her
·!fl w i.±ffi.:R-=hlflJ=i-Ai T~ ~ ~ que ,----------'-J2 CWli
nao___ ____ da
1
sam G "1
ba
eu
l
_ nao
-----que - ro mats --
rrn_:~n-aJ:t 0.5..5: oL que-ro mais
ICODAI-$-
------
Pa -
&1
FIVli
W--*lfW4 ~ que
FORM:
nao
da
sam -
ba
re -
~
Mul _ her
c 1-
(Wli
~l-F==1 m~J? =-t~= d._k ===-=;== m~ eu
que _ ro
niio
[iNTJ«j] [A] [ID [Q [A] [ID
....____
Mul - hcr
Repeat and fade ICODAI Repeat and fade
27 MULHER QUE NÀO
DA SAMBA
PIANO
n
Basic rhythm
,ilt}J·
Variations
~\0__0
j
.rn~.li1J
l
,t1D"'/l
}l
1
.il n_JDJ._ etc!
CAVAQUINHO (GUITAR) Basic rhythm Ali strokes are downward- but you can also play 16th notes, down and up, like this:
BASS (mi
l
Basic figure
G:,
l &1
:/.
C mi C:n
C mi (mi
l Fmi
'/.
Cn~i
/.
/. 1 c"";
C mi
v"
/.
l
Cmi
l
D1
G1
l
Cn'\i
l c1
l 6-1
l Cmi
Cl
l Ftwé'
l G-1
c .... i
l
c1
~
r·
/.
G1
l
l C1
;/.
FPJi
;/.
l D1l
/.
&1
~--·
:11
Cm i
'1
l l l'l" ~
~!CODA!
l &7
~
rT ____________I
[Q
4}-11: Fmi
l
(;1
l&-, [ID Il (mi
Il= f,.,.,i
l
;/.
!='trli
·~·[Al Il Cmi
etc.
CHORDS
!INTROI
~Il
[)f l ;-aJ
:il
l
Repeat and fade
l
P.S. ·~ol-f-
c1
• Il
HORNS in C
MULHERQUENAooAsAMBA
[INTRO[
r:- ,6
rmr
l
7'
Cmi
[ID 11
Gmi
_
7
l
y
l
l
l
C mi
~
l
-
D~
CW!i
l ij
j
r
> ,.
t
&l:>
l
~il >
..,
g
l
E c
~:
le
-$~ Repeat and fade
28
29 MULHER QUE NÀO
DA SAMBA
HORNS inBb
IINTROI
Il
A1
Il [ID
Il
7
l
-
Dm i
l
t
Dmi
C, mi
-
l
~
t
1
l
Repeat and fade
30 MULHER QUE NÀO DA SAMBA
HORNSinEb
·;,-.[A] Ami
t j
Il
g y
[ID
Ami
l
-
Ami
l
-
Il
t
Ami
Dm i
[Q l:
-
Dmi
7
Repeat and fade FORM:
IINTROI
[A] [ID [Q [A] [ID
ICODAI Repeat and fade
31
Denis Brean/ Oswaldo Guilherme
- VOLTO PARA CASA NAO
Samba-choro
The samba-choro has a fresh, driving feel to it, but lacks the strong accentuation o n 2 which is typical of the samba. The emphasis is more evenly distributed on l and 2. The atmosphere of the samba-choro is lighter than that of the samba. Whereas the lyrics of a samba are more melancholy or "blue", those of the samba-choro are more cheerful. "Nào volto para Casa" is about a man's troubles with his wife (and to a large extent the other way round, too) and about their formidable arguments and fights, but the merry lecture-in-song and the amusing, corny arrangement are completely unaffected by this. Recorded by Germano Mathias (and Gilberto Gil) on the LP ''Antologia do Samba-Choro". lnstructions:
The form might seem a bit confusing at first (especially the end), but it is really quite logica!. Practice one section at a time and listen to it on the tape. The horn arrangement is 4-part ali the way through, but it works out perfectly well with just the 3 upper voices. The horn introduction and the middle section (C) are not noted on the summary page because they take up too much room; only the chord sequence is written here. You therefore have to compare the summary page with the Horns in C-page. Percussion:
The equal accentuation of the surdo on l and 2 is typical of the samba-choro (but the 2 does get a little more weight because ofthe open stroke), as is the accent ofthe and (C-stroke) ofthe pandeiro. Ifthis proves too difficult, the C-stroke accentuation of the pandeiro rhythm can be omitted.
PERCUSSION Alt.:
Drum set
11:
b:rJjJ JJ l RRRLRRRL
Alt.:
Surdo
II:J=JJ. t
R
Tamborim Pandeiro Var.: A gogò
+
L
o
R
+ L
.,
r.
:Il
32
J=
112
NÀO VOLTO PARA CASA
SUMMARY
m
*
IINTROI Instr
l,.
[1.
l
, .•~:t;'p[J;HE~ l'~ LFiiiilH~~tJ:i :1#1 E& l~ li !Al n~~~ 2
Voc
Break l[[Z,
~ ~ .~
s',
..
Il~ t lt'~J
_
u
ltt F F l r C1~ =tF fJ -quanto~ l i~J!)JJ) := Eu nào
pra
era ttn QJ )_
t
11: lì-:- r
l.
voi - t1
fm;
nào sei o que..__..ela
~
l!P1
me a- ca - bar
7
l
la mul _
nì)J j .ÉJ]j "J Jp7L
F...-;l
?F JIEr!CFJ·1)
AP
em
Aque-
~
r;;u'- pa-.t.,
Ab
Eu
sa
- donar
ef1
minha
ca
(Horns:)
è
'"'""
vfjf lf ;Jbfr:;tu rF J'l Pra
fi - car
tào fur - ri - o -
BP7
el>
foi escan - da - Io -
sa
Mas a -
El>
Eb
C7-
sa
Ab
eia
"'
l Elf-Et rT[r. v-:J al LldilfCTbf· r F ! lEr J[F~1, sempre te
- ve
Nun ca
&1'1
F,..-,;t
tw
!in - ha
7
tt
- ce, 81
""'
3 ~,. r:k 1 -
Instr
ro
deu
eia
rasgou
U
que nao vou
Io -
Ftwirr
Mas eu
Il
ii
E
m'-._.,espera de
I.C.Gnr ;Il JUro
to- ca - ia Mas eu ju -
è
(j>-r
que nao
Repeat
IAJ
+ [ID
vou
l z l z l Ei l ,Ami11Di l Amì71
D;
11:) 7 t l t rt!ll
FORM:
a
r : lcr tcr;:t~ =!=t r J lblra~er tltr : 0 ·?J
Min - ha roupa eb
'"t#J)J1 j l ~ -
gora
\INTRO\ [A]
00] [A] 00] [Q 00]
112 [A]
[!!] \CODA\
l A..;; l
• ~
33 NÀO VOLTO PARA CASA
CAVAQUINHO Alt.:
2ti·JJlffl l )jJ ~·il ..h .j.1' ~
Basic rhythm
4- :;./t "t"' t.
BASS ~ 1\:
Basic rhythm
JJ
1
/.
The bass usually plays two roots with equa! emphasis, possibly root/fifth (as in e.g. Rochedo - see page 39).
:11
CHORDS IINTROI
~Il:~~ A~l
A~m;A
l~-* 991 a, 9 ) l Eb
[Al P Break 2 l E~ Il· E l 9~1 • ~ 't t t l Fmi7
C%
-Break l
9
l Fmi;r
l 1'"1 (J, ) Il f"
;/.
l E~ '%-l Fmr:
~
'1
l
t
---
EJt l
:/.
sl7,. l - ·-r
~ 1,
B"1
l F'mi;r
l
l BP;r
l E'~
A~
/.
'/.
l Fmi1
W'1
Il E~
l
1#1
[ID Il
A~
cP
l Fmi1
l
l Fmi1
l Fmq l 9~1
B171
[Q Break 3 Il: --- l --
Il
G-
6
[1,
Dr
l :li
s"1
l
u l e;1
l
l E"A
l1,
l Affli7 l D-;
l Amq l'1l 6
ICODAI
Il
Repeat
IINTROI until#
E~
l A"
:Il
34 NAO VOLTO PARA CASA
HORNSinC (INTRO(
f$&, gll~-~r!f~ft SB!U JffRtf jl =t l
Break!-
j
HORNSinBb
Repeat IINTROI until ~
36 NAO VOLTO PARA CASA
HORNSinEb
= v
Y·. ftj~ l j 1%J ifl%= i ~~~~~~~1~ ;
re
[Q]
~
F~
FORM:
ICODAI
Repeat IINTROI
IINTROI
unti!~
Repeat
8vA------- --- ---- --- - -- -"'- - -----,
# ~ #[t Q
[A] [ID [A] [ID [Q [ID
[ID + -~unti!.
: L~~--~ l@r --t ]
112[A] [Q]
ICODAI
37
Noca da Portela/ Zé do Maranhao
ROCHEDO
Samba de partido alto
Rochedo is a samba in the old style. Samba de parti do alto means "samba of a high standard". In this style the verses are improvised, so the lead singer has to be very good-hence the name. The chorus usually answers with a refrain, which in this case is a repetition of the verse. The rhythm has a choppy feeling to it, and seems as though it is about to topple (which it obviously must not). Samba de partido alto does not flow as smoothly as an ordinary samba. Rochedo was recorded by Beth Carvalho on the LP "Sentimento Brasiliero". lnstructions: The introductory theme is played by cavaquinho, but it can of course be played on flute, saxophone or the like. There is no specific horn arrangement for this tune, so the Bb and Eb parts are simply transposed versions of the melody. The text in square brackets on the summary page (for example, [Amigo!]) are the exclamations sung by the lead singer to the chorus/audience, to tell them what comes next. For solos it is best to use the chord progression in the A-section, maybe alternating with the chorus befotre the next soloist has his turn. Percossi on: In the A-section, the pandeiro plays a typical partido alto rhythm. This does not have the same smooth flow to it as that of the ordinary pandeiro rhythm - it is "chopped up" into open strokes with the thumb at the bottom of the head (A-strokes) and closed "slap" strokes by the whole hand on the centre of the head (D-strokes). The tamborim rhythm in the B and C sections is actually quite common, but scarcely known outside Brazil. 1t is played by first hitting the head downwards at an angle, and then from below upwards, as shown by the arrows. On the upward stroke (from below an d up: t), you turn the tamborim with a quick flick of the wrist, so that the head is angled downwards instead of, as it normally is, upwards. Getting the hang of the co-ordinatio n between the tamborim and the stick takes time, but it sounds good when you have learned how. Unti! you have learned this technique, there is no reason not to play the standard rhythm from A in the B and C sections. For further information about this technique, see "Street Samba". The cuica is not recorded on the tape.
38
rnstr
J = 100
ROCHEDO
SUMMARY
IINTROI =:t f%1
b E
~ ~1
b A
IDc Gffcr ; (
é
~ ~~
_1
CJT[C -g glf L ~ ~ "
Elr eF lf.c;: ff!j [' CEt l;·cf e; E:; l;! r;a~ Jl
'Al l!:!..l E
L
11
Voc
WJ
..-/_
C1
t lfj
rar
E"
do 8b1
Ftrti1
~
jfl jJ; que
~
17
B1
que
\1. E"
Il=+~ I~J )JJ ]l)., ~ ~
-""
lnl la l..!:!J Eb
do
"""
que
~1 rJ ~ - go
Es - sa
s01
des -se
~
J71J. - ga
~
1
f
~
da
[ Esta mais ] pra chorar
_.., ..-/
Esta mais pra cho-
n
da num ta
-
bo -
a
O
~
su -
Eb
bar -
ma - ré
IINTROI
[Ei, Amigo!]
1J LlP Wllj ,a s l J. VI
rJ
l
l
A- mi-
Fmi'f
Cm··1
co que~e a
contra
0
~
I~J ;j'jl i jiJ
FORM:
Esta mais para
ef1
El:>
I~JJ!j ]:ll}y ~Il
1 ~n ilta ~ ~ r : l r- : g r l.-I{J·
113 ;J ; -""' -a
•
pra ca
que ganhar
~JffiriDL
se aie - grar
Il z.
~ r:v=
do Ftni
W
B"7-
Esta mais pra! cho7 7 (~) Il
lùd{ll
l
LEsta mais pra per - der Ev7 A-p
Esta mais pra -s-of - rer
Bb;t
.
I1DJ'jJ ]l!J
. __.. sornr E~
~ lil:Jlj JIA t 1iED
J)
l~
L
[ID
roche
vi~
_
do
=t
IINTROI ~
~
·
Id
tenho
llz.~
ICODAI
~
pro-
lifJ ft!L 5.rJ Jl nes- sa
E
ma - risco~e
lt d
[ID [ç]
co vem na
B~
r : l J.
Sou
pr1
11. Eb
Jl!J
~
da
J:J jl
:J
fo -
8 JJ
bri-
me -
F3
39 ROCHEDO
CAVAQUINHO Fl
11··
Basic rhythm
~J J. t
n
1 R'IFr1 l ..,~ -t ..,
J ~ .,_... t +
ì . Il ·
:t
r
#--J
•
-t
J
t
In l INTRO l and l CODA l the cavaquinho plays the theme. If these themes are to be played by e.g. horns, the cavaquinho can play the rhythm instead.
BASS Var. l:
Basic rhythm
II:.D~
or
:Il
:Il
Var. 2:
nn
11:
1
DJIJ:11
The bass line might look like this:
~
Eb
00] [ID
;
,.
~
~
Eb
Bbt
r l JJl;
;ryf&;F In
!f
l
FJ ~
rFl
JJ l :J ; > >
l
Eb
f!d
l)
è
1#1
Fm·"1
Cmi1
r r l J J l r J l E r l; Jl r
Eb
Ebtt
Ab
1r· :ul ~r
1
1J
1
Bb1
r r r· ~~ 1
r r 1 :J
1
1/z.E~:.
'e?r
ltEb
w :11
rr
3
CHORDS
IINTRQ]
ili E~ l AP [A] Il: E" l C..;t l Frni1 l
1
s";z ;/.
r:i-:-z~------
l E~
l j.
l B"1
E~
'/. l E~
&'1
l
l 6~1
!A'
/.
l
B111 l Eh
l
r:"1-
[Q
Il rf1 l E"
l A._, Rubato 1':'\
Ab
l E";t lf
f,~
l E~
1~1'1
l E"7 l AP
l
t
Frni
[ID =111:
E"
l C."'i1 l Fn11 l l
l B"1 l /. l Ep l B~1
~
l E"
rF
the bass could play this line:
?'vidi'
l l3~;
l
ér
E-h >
Bb1
Ab
l l
l
""7
~r,\ ~
l
~~Al~/. i r f F
'f.
12.~
l E"
ICODAI
l B'1
A tempo
l --- Il E~
l
A"' l
:Il E~ Il DA CAPO
EP
~
B"1 l~
Da
lingua do 1
l
l
ryf
l
l
~
B6
t oda l vez quevaqui voi t - àr
=-
'l pry~JJ
~3~
a
à
Pede
Dindin - ha
!~
l
l
quarto P
c:-
B
mar
\INTRO\ [AJ
u B1
-te
Dindinha
u -
Il
Mae natu -
Il
de luar
t
__..
f] ~
CL f ~ Ma e n a tu -
G7 r
~
~ ~ ~:J: 7
Clare - an - dovas
F1
È
p,~>
J
Ctfli1
Jj [ ~
verde~
St ma - tas
__..
,_g
~--mF;r
Esse
~
EtPJ~=if~TJJJYlm
Miie
natu -
[ID [AJ [ID 2X
~
Jj]:I:;J:
o luar
l J.""'l--1fil1;LB
JlJJ
1 ~___, l t k[ j1 traz
l
E m cada
lez'\_,é
mente que me
l?
semen
l
~h l J. j
È
se-
B
lx
FORM:
el
A
[3ct tibf-i ------~~ - - ----~~--
ri - o, esse
T"
~l
7
-
tl ,:11 J:ff1l -+- e~
E
-a- a
ga de l su -
-
F
Que be
~1
c4fO
"""r'
e -
t/J 1J) [ J?) TJ 1fJ -- re - za
d
t
_......
ia __...-
F;z
l "f
__...
IJ J. JlJ rAJ:PJFJ ]J} 3JJ~I a
Tra
F1
) ld
l
r!J_JJ
-a
a
t:J 1JL
nt; fn1 8 tJ Vl!J -l
cm·q
3
)
salvev
>
{:
R l R.LRLRL
> >
·RLRLR L R L
{
>
>
>
Sordo
Triangle
Agogò Pandeim
Conga Ganza Tamborim
N.B. In IINTROI only the triangle plays together with the bass and cavaquinho.
FORM:
IINTROI
~
[ID 2x
~
[ID 4x
-55
Kaka do Asfalto/ Jackson do Pandeiro
NO SOM DA SANFONA
Forr6
Forr6 is a very popular, Northeast Brazilian dance rhythm, which should be played with the accent on l and with an elastic swing (like a bouncing bali). Traditionally, the forr6 is played by the so-called "trio nordestino", consisting of zabumba, accordion and triangle. Recorded by Elba Ramalho on the record ''Alegria".
lnstructions: Since the lyrics are so difficult because of the many words in each bar, the A-section can either be played instrumentally or la-la'ed, then followed by a sung B-section. The horns in Bb and Eb are transported versions of the melody. The introduction can be played by, for example, two flutes instead of the accordio n. On the tape it is played by an electric piano. The paraliel third in the 6th to the 8th bar can be played on keyboards by aliowing two fingers to glide from key to key in thirds (the white keys). On the accordio n, a special bellows technique is used to play the basic rhythm an d the variations - the chord is h el d while the beliows are moved back and forth to produce the rhythm. It is, however, easier to play with a normal beliow movement producing the rhythm with the right hand.
Percossi on: In the A-sections the drummer on the tape plays an accentuated stroke on 2 on the hi-hat, instead of on the snare drum. The agog6 could also be played on l and 2, replacing the notated 1-and and 2-and. The belis should be dampened with the left hand to deaden the sound. Ali those with their hands free should clap in the final B-section (or even in ali the B sections). The zabumba is played with a beater in the right band (R) and a thin stick in the left hand (L), with which you play a contrasting stroke on the bottom head. See also p. 9.
56 NO SOM DA SANFONA
SUMMARY
lnstr
c
J
Ou
! [ID
c'
c
Voc
Il
fj li vi o
Il
'1
c
G1
JJJJJJJJl J
to- que da san-fo-na mecha - mar
C6
C
G7-
i] JlJ
PJfJJJ0JJIW
to- que da san-fo-na mecha - mar
[Al
C
[j JJ]
Cl>
ti
-
- ar
o
GiJ
G1
J J J o l JJ ; j J J J pJJ; J j pu- xa,p
i
o
ca - bra
c'
se
de
j JJ
Il
la.
Ou
-vi
o
3x
!INTRO!
[ID [ [Al [ID ]
IINTROI
[:
[A] ] solo ad lib.
3X
IINTROI
[: [Al
[ID ]
3X
[[ID]
j j
J J Ji
di -a da- re -
J JQa
re - !an - do quan - dovo pa- go- de'-'es -
C
sa - ir
o
G1
vem se'-'a-con-che-gan -do
ffj JjiJ
-quen - ta nin- guém quer
-tei -rava -té
J JJ ; j J J ; ; Jl 30
&9
tJjo~J j
fo -li- a._,a noi- tejn
fo -le
c
J
Gt
FORM:
Umsan- fo-
to-que da san- fo-na me cha- mar
Gr
nei-ro bemma-nei -ro
c
ou- vi
ir--IN-TR~Oi
-57
NO SOM DA SANFONA
ACCORDION (PIANO) [!] [ID
>
Basic rhythm
>
.ili: rE
;tffl
:Il
>
tll
Variation
r J ~ rffl
Il
IINTROI See summary page - last bar
GUITAR ~
•
Basic rhythm
.;1\:
n
D
l
rJ
• •
~-fT r =Il
BASS F
IINTROI
o=f -
11
C
r .i'bi(*t:::lt.r S 1
c
F
c
G1
n le&--- l?c J~lt
l J.
w
_...
G1 i""'o-......_
l~j G1
jr-1 l This rhythm supports the bass:
.f'\
j etc. (varied)
o_o \;
any simplification should be based on this.
CHORDS IINTROI
,i Il
F
IC
l (T1
\C
IF
\C
[!][!r Il:
c
C6
l (11
l G7 6 9
c
:[1
l
(;,7
1f7
t
Il
58 NO SOM DA SANFONA
HORNS inBb
r-tf rmr~rm khrr!l t&faJJ r..rrdrerd)D
OOlilll
D
G
D
A1
fb\r f
~J-
l
11JJj u rnuu liUi1 ur1 ~U111 ~ ~ ~ ~ G
[ID D
Il
Ob
D
A1
A1
Ar
JJ JJ :JJ JJ l ~ D
13JJJJH31J Il
D6
A'
D
~ Jj l
ffl1 fBJ jj J) l J
A1
N
[AJ D
r-
D
A1
D
A'
;-fJ]I!.lUJHJJIJ
Al
A1
A~
A-,.
A~
dJJi
D
nJh n j lJ'J ~ n J J l CE Frr H r l J D
D'-
A1
J
m
D
IJJJjftlJJID ~JJJJIJJJjjJSjiJ
J ®Il
HORNS in Eb IINTROI
D
.-~~
E
A
A
1
~,mJlcca~er rrr jjrl LrrfJI® rtEtr!WHt El l(rb ptFflltttuQitttttU/1, [ID A
E1
A'
Il r re re
u r 1r
Ah
E1
A
l UH rrrr l F [AJ
A
A'
i{f-;rt r A
l rFFr
Ab
E1
F=t-
rcr n 1 rr rr E"t
e,
i
E~
A
re Er cf& r 1
f1
E~
EW
A
r:t(j i Cf[; UHI J E1
E C! l!
A
reE bi 1r r V rr (f i J
S1
1
E~
r
A
CfOrJu 1 CWl L! El cF Cf i J
r HB
E~ E ~~
59 NO SOM DA SANFONA
PERCUSSION
~ Drum set
h.h. { snodro o
baodro
o
:{:
Zabumba
Triangle >
>
Pandeiro
{:
Agogò
Handclap
11:
(last B sections)
;/.
J.
~D
•/
7·
:Il
VARIATIONS and ALTERNATIVES
J Drum set (variation):
J
hoho { snodro baodro
c
r _r
Zabumba
+
(variations):
Pandeiro (alternative): ++++oooo
Ae,CBABAB
60
North-East Brazi/ian violieros singing an improvised due/ of words, Praça Quinze, Rio de Janeiro Photo: Nicolai Glahder
61
Hermeto Pascoal
PAPOFURADO
Baiào
)
Tbe baiào comes from tbe Nortbeast of Brazil and is cbaracterized by its basic zabumba rbytbm. Tbis rbytbm is bere furtber empbasized by tbe bass, guitar and piano. It bas a fresb, pendulous feeling to it.
Tbe tune bas been recorded by Airto on "Seeds on tbe Ground". Instructions: Make sure tbat tbe A-section is played witb sbarply empbasized sixteentb notes and not - as easily bappens - as tbougb it were triplets. Botb tbe A and tbe B tbemes are scat sung in tbe originai version, wbicb really sounds ratber nice. Tbe Lydian dominant scale used in tbe solo is traditional Nortbeast Brazilian. D7 Lydian consists of tbe tones: d-e-f~-g~-a-b-c. Percossi on: Tbe most important instruments for tbis baiào are zabumba, agogo, and triangle, and tbe pendulous swing essential to tbe baiào emerges from tbe balance between tbe rbytbms of tbe zabumba and tbe agogo. Tbe triangle rbytbm in tbis tune is sligbtly odd, in tbe sense tbat it is normal practice to accentuate 1-and and 2-and- as tbe agogo does bere - and not l and 2. So it is normally tbe interplay between tbe zabumba and tbe triangle wbicb makes tbe swing and forms tbe rbytbmic basis of tbe baiào, wbile tbe agogo can play severa! different rbytbms. Tbe caxixi notation is explained on page 9, as is tbe zabumba tecbnique.
62
.
J=
PAPOFURADO
108
SUMMARY
IINTROI
D
~
=fH[jfr
2
c J;f ) [!] D &/o ·~ b L ; EE ; l i; J fJ J l 1
*
1
n )JJ Jl f
11
etc.
onlyon
)
D.S. rep. Il
.
1
"l
t
vJ j ; ;
t
l
7
a P) J
)t
(zab)
1
1
l :l
j
l=
"
J . . . .,
l
1
J 2;a a A J p 1
1
~
a n J J73 n ; n or 1 J [ID '-" H2)1:2J l r t § a ' JJ
1"
y
1
1
[!]
11,
1
1
1
n oiJ J r a Jt w o r 1 J
r c r Mr ;
&6
2
)l
1X2Jt ·
lE
---
1,
ìD1gtr1 - l -
2
>t
k3 )l
11
:il
&d:J
lSO LO l no chords - scale: D7 - Lydian
1
;t
etc.
l rGJPQU&Ifii]l
y
1
p::g:p=znuu,an, d±ctJ DoJH
1
~
:il
ad lib.
:Il
1-1-±JI Repeat and fade
FORM: IINTRO l [!]
[ID [!]
l SO LO l
[!] [ID [Q [ l C' l :] Repeat and fade theme + pere.
no rep.
63 PAPOFURADO
PIANO IINTROI
lAJ
D
...
>
>
•w
[_di.....J
_,_.
~~
''
r.
GUITAR
IINTROI
[Al D9
fu :. ~ B ci
1 y·
[ID
au
[Q
ISOLO!
lf*
Il=
Rhythm variation for
l
ERJ =l
on o,.,n 1
:nn
[A]
(,.6
I=Jij jl ji jj:(i#l
Dodd9>
:1111:
on
G'-
1
,..._
cJ11 JL
=Il
Padd 9 >
o~~~n,
BASS IINTROI
Dadd 9
[Q
>> >> 11:J JJJ JmJJJ J:11 >>
Caxixi - alternative technique for use in [!] :
RLRLRLRL
l
RLRLRLRL
"/ /.
Can be simplified to:
>>
:Il
>
tr:OQ
Zabumba can alternatively play:
+
o~
R
FORM:
\INTROJ [A] [ID [Q
\SOLO\
[A] [ID [Q theme + pere.
no rep.
[
R
J
C'l :]
+
L
Repeat and fade
:Il
67
Airto Moreira/ Flora Purim
MERRY GO ROUND
Maracatu
This versi o n of Merry Go Round is played as a stylized/simplified maracatu, ie. without the many variations usually played by the zabumba. Maracatu was originally a festive processio n in memory of the crowning of African kings. The musi c is very bombastic, with zabumba (which in maracatu is actually known as a bombo), side drums, agogos, song (falsetto voices) and, in certain cases, trombones. 1t has a happy, although steady - almost static - feel to it. The tune was recorded by Airto on his album "Fingers". Instructions: The A and B themes, played in this case on guitar, can of course be played by any melody instrument. The Bb an d Eb parts are transposed versions of the melody. The horn parts are played o n an organ in the originai versi o n, so you can just as well do the same. The short, bouncy octave figure in the B section is quite difficult to play on the saxophone, so it might be a good idea to play it on piano, organ or an extra guitar. For solos, for example after the first run through, you might include a section with only 2 chords: 4 bars Gm7 + 4 bars C7(~11).
The guitar rhythm of the C section is not played on the tape. Percossio n: To achieve the right kind of swing, you should think of the agogo as though it started on 2-and, as indicated by the accents. This helps create the circular, almost static feeling of the maracatu rhythm. On the tape the agogo always starts on l, but you can also start on 2-and (together with the zabumba). The caxixi notation is explained on page 9, as is the zabumba technique.
68 MERRY GO ROUND
SUMMARY [A]
Break 1 ~lt Theme f.!.l ~~ (guitar) ~
r---...
•JJ1_)\o. l\
Horns
11 1 1st time only
-
ro---.
-
~
l> '1:..
"
_L
~l\~l
F"
~
-#-
l
v
~
=
"
-- v
l
..
cb
&t->os
l
::J;;j
,.._
-,-----
-----=
..
...,__
T-
-= -
~ ~
--1 --1
- =q
=>!
....______..L/
r
-j --'
l
-~
c
Horns
l ~
-
--
o
[_____j;
--,
r~F
-#
~
-
---
--'
-
- ====!
---------- , . .
·>
~ ::::;-~
~---~
~-
C?
-=== ff
-1_ --l
-6~
~
-.
-j
1----j
-~
-
·..t;
--l
...
.--t-
-#~
v
-==
=-"1 ----,
__,____,
_,
-j
-
69 MERRY GO ROUND
Theme (guitar)
~
Break 3
'
.--.= il.-1
O
~
~
Break 3
E m~
I's---
E~
._g-..-
=-
b.-.1:. -f--: _,__L _:t_ -f--b..
A1 ~
~,.
~12
_,_
l
l
A7 ~
r-_l
......
.....c::: l::::l~
-loo"""
.
l'I.-L
n
b~n
_i
---
.......----....
. ....-
. Y'111
'
bi
74 MERRY GO ROUND
PERCUSSION
Zabumba Agogò
{ ~~----~-----4~----~~-----4
Triangle Caxixi
The caxixi rhythm can also be played with right and left band alternately:
BREAKS Break l, 3, 4:
Zabumba Agogò
Break 2:
+
{
Triangle Caxixi Break 5:
Zabumba Agogò
+
{
Triangle Caxixi
o
o
75
TODA MENINA BAIANA
Gilberto Gil
Afoxé
Afoxé is an Afro-Brazilian, semi-religious carni val processi o n from the state of Bahia. Gilberto Gil is a "baiano" and has used the afoxé rhythm for this song about Bahia. Afoxé should bave a tenacious feel to it, although it must be supple (it must not drag). Recorded by Gilberto Gil on the album »Realce«. lnstructions: You can include a solo based, for example, on the chords of the introduction. If the horn parts of the D section are too difficult, the horns can play the chorus parts instead.
The D section is sung on the tape slightly different to the way it is written bere, and can naturally be varied (listen to the second D section). If the bass part is too difficult, it can be simplified, but bear in mind that the bass rhythm is an imitation of the conga
rhythm. The guitar rhythms are imitations of the agogo rhythm. On repeating the A section, the guitar continues to play the sametwo-bar-rhythm, which is thus reversed because of the 15 bars of the D section. Guitar 2, on the other band, starts over again on repetition of A. Percussion: Agogo leads the percussion group - the agogo rhythm remains the same ali the way through. th~n one conga player, o ne of them can play a muffled stroke o n l, an d an open stroke o n 2 (the same as the bass drum) on a deeply tuned conga.
lf there is more
PERCUSSION
~
+
oow
Drum set
~-_)
b Emr;z F~MiO l) Emi7 f!.,.,;(1 l) 1
Etni1
r\iio.tt.
Voc 111~
-
o- o
-a
Chorus
1\jj~ ~ k "" ""
~~'-
b~llll
~
~
o~Deus da
~
-
~-a -a
-o
:1=)) ~%4 ~Aaa
t
0-o -o
b ~""
Bib -bib-bib-bab-m-
b ~""
~
~
l....,j
Oue Deus
O ue Deus deu
o- o
Oue Deus da
-t -da
Emi7
Emi"t
Oue Deus deu
- F!c,n !.- f- fl- .....
-o
Oue Deus deu
OueDeus
da
D. S. ·5. FORM:
IINTRQ]
[
[A] [ID [Q] [Q] [!!] :]
(2nd time around: repeat the first 8 bars of
[!.!]
ad lib. and fade)
-77 TODA MENINA BAIANA
IINTROI
;q
! [Q]
e:,.;v
3"
) :Ili: arpeggio/b~oken chords t+
15 l
l
BASS IINTROI
4"
[A]
:nh:~~: ?]:n 1~, g 1, ·n 1~· c:r:III:1JJI, •Efl~ ·n 1~· d''ll
[ID
~
""
~
[Q] [Q]
f} ~ J) :I(J)
~ ~
J?Jt1tJ J114i JiJI4iYJ11fJ12l 7
l)~ ;Q
j)v J11 )YJ11 )Yfj l )YJJ [Q]
l)
7
J11 ) 7JJ l~)J1t)
3x
lhf 1r, n 1~, cr 1{) 1Uf· ~~tr~~ GUITARS Guitar l
t l(j JJ ~ ~ (j
Guitar 2
~l
7
~
J) ~ ~ u~ ~ cJ> ~ cJ j) ~ ~ l
r
)
7
l
)
l
i
2 $
;X':
l
2 ~
l
Emi1
.;rp
CHORDS
IINTROI Il Fi.,i~l) l Emq. [A]
Il·. FITti ;t._ (Il) 1 l
l
l
~
~
2
;p.
~
:Il
[ID
Il: D [Q] [Q] Il: c;o
:lfl:
/.
l
[Q] 11: Emi1
:Ili: Gip
/.
3X
~ .(Il) l F'""'+
e;"
·
l
Bmi7/D 2 ~
/.
l
:111:
o/o
3J(
:Il Emi :t
l
F~
"/.
:lf
/
:Il
.cn> l E rni 1
l'l'li?
Il
78 TODA MENINA BAIANA
HORNSinC
PP
l j-====:J:jp?+bJ:dl41 t P --- - - mp ~=== . .
...::=:::::;;;;~~=====~~ p •
•
l~i:e_!!~:::=:t~àfl ~l
[Q]
lo
[Q]
lo
[Q]
mp IS'
Il
~
Il
~
Il
~
---- ---- "'f'.
[A] Il
lé
~
Il
Repeat
[ID
[Q] Il
-
l
-
mf
,..._;,-,
--
-
1~!~1-
1
[Q]
[j
W:tJF rB
11
lj Mf
[Q]s
4J
-
~
l . - l]il~d -
Il:\~ lr·f ~~D
l
-
l - ~
-
1
~f:a 1 t ~ltté:tOJl -
.1 7 /~±L t~'!W4fltt/tel
1
-;]1
Repeat and fade
....... 79
HORNS inBb
TODA MENINA BAIANA
~
lo
IlE ~ §l= 4jjfU
[Q]
Il
-
l
-
l;
Ji·J_jJ
j
Il
[Q]
Il
J_ !J tnf
_tjA?.JJlJ
.--3~
-
----
- li?J2®1j ~ l -
- l -44
80 TODA MENINA BAIANA
HORNS inEb
[Q]
E-
l
IJ.~YJ l J
mf
ltdft!T
lJ
-- -----
--
1~r T(FF IF ~ l
-
lJ
4J
Il
[Q]
llrz
l!
--==-
- IGJEJT
81
Levino Ferreira
LAGRIMAS DO FOLIÀO
Frevo
Frevo is a kind of march played a t the carnival in Northeast Brazil. It is played quite "rigidly", but lightly. Foliào means "a person in a procession", and the title of the tune refers to the tears of this person-maybe he has lost his lover in the heat of the carnival ... We can hear him sobbing in the 2nd ending of the A-part. The tune was recorded by José Menezes on the LP »0 Frevo Vivo de Levino«. lnstructions:
The melody should be played briskly-make sure that the syncopated rhythm does not become triplets, it should be marked without being staccato. The Horns 2 part can also be played by, for example, two guitars or piano. The bass part is imitating a tuba, so the strings should be muffled. Percussion:
Note that the caixa and the tamborim reverse their rhythms after the 3rd bar, thus starting their basic rhythms from the 4th bar. This happens because there is an uneven number of bars in the A section. The surdo does not play on the pick-ups.
PERCUSSION Sordo Caixa Pandeiro Tamborim (optional)
Caixa in the first 3 bars of [Al : Ca ixa
RL_RLRLRL
RLRLR
Rhythm
RL R L R
The rhythm must be reversed since there is an odd number of bars in the tamborim reverses the rhythm in the same way.
[Al;
82
J=
112
LAGRIMAS DO FOLIÀO
SUMMARY
Horns l
-
'
re; lto.-Oc
-
~ IL- -
l
Horns 2
-
-- ::r;
. ·----·
~
~
-
c::.l...:l
Dmi
u- -7-
' ' - - f/ ,
~
-
l
~
l
[f:JAib'1'>-
-
_ , f. . . .
17______.,.•
*
•
~~
l
L.
-.
-D1
.c.::~
l'l
~
.-
,_,_ 7
D1 l
-
........
[)rn·,7
l
,
--
...----1!--
J.ooo""'"
l
,_,.. + ,
,
.__,,~
DWli1
Gmi
l
-,....!""-
[email protected]~ak A
-:1- -.._ ~-f#J~~
A-?~>
·~ Dmi>
-
~
-·-
111... Break
.
l
,
~
Dmi
...r:::~ ~~>
t[
,~-::::::;
r--
•
~
:;t 1'=1=~=1~A -j.b"J)
-
A-?"~)
n
1""'1
> >
;:>-
-
~
i :::=::;:; :: • Dmi
~
l"'!!oo
l
l
~
• • &mi
r""'"11
l
A~b")
~
~,...........--._L
,.....__.....,
~-..-~
Horns 2
p::r., =:
r\:;
l
Horns l
.
_l
>
A
-l
r
-
-
l
..
1
> -
l ~
r-
r
-~-f~
-
""= -j
--
83 LAGRIMAS DO FOLL.\.0
- --- ,
r\
='=~~ ~l-"
l
Drni >
"
~r""'' LJ ... -
-
~ ...
•
.
AM)
..
~
-
---~·
&m·,
~~
1. Break
2. Break l
---A-:r-~~)
Dmi
'~ ~
,---)-;~
-
l)
7
> >
--
r-"1
~
> > >
-
[CODA[
~ Horns l
E~~~~J , , Dmi Il
FORM:
[ [Al
[ID :)
[!] [CODA[ no rep.
l}
]--
~---
A1(b'1)
Dmi
,
-•
-
,......,.
-~-
-
~
l ~-
.. ,
-~
>
t
-
.,
l
_
____,_~
:...; -
Dmi
_,_
11
::..
-
~
..
j
-
·-
,
~~~ ~ ~ Dm i
.
~-
> l
7
J J J Il
84 LAGRIMAS DO FOLIÀO
BASS (TUBA)
1..
>
Il
.
.
l ~ r 4 l~ r t [ID
. .
l ..
.
r t ;q;; - l l r f Il . . t . . r et 1~4 p r a+ r t Et 4 r J j :l
r
tttfr r
~
ldd'IF
·fif-f 1J LIÒ 6 l(i' :±è~~~~~
1
1
1
1
1.
1
1
~-~~~~
bf
4
t
r
r r :il r
.•.
l r r r r Il
~
[:QDAi_ tj)
';'
rff
Il r ~
Il PIANO/GUITAR (optional)
[A]
3 first bars of
n n-=:::tlJ.
l
~Il nndn.
)
i 11:
Basic rhythm
j'
:Il
'!
l Jl}
7
l
Rhythm
(The rhythm should be reversed because of the odd number of bars in~ )
CHORDS
[A]
l
Jl: Dm;
l G,..;
/.
l
/
l
l
l
/
l
/
l A
f'' l
l
O,
l A10>9> l /.
l Dtni} l /
l
~~--~~~
l A1a.9'1
l D...it l /.
l Dmi l ...-.
/.
çr
[ID
~
l D;
/. /. --
:Il Dmi l ~ ç~r
l
/.
l Gmi l il. ---··----, l ~ l A7019) Il
'lr
Il: Dmi
l
;/
l Al'p9' l
l
l D111i
l
l
l A1u,q> l
l
l Dmi
l
l
l & ~r~i
/
l Dtni1
l
l
l )\1~,, l
/
l
l
v
[ç®A]. ~ .Il Dmi
Il
85 LAGRIMAS DO FOLIÀO
HORNSinBb
-..
1'\J;O
Horns l
...------
~
"'
..
m
..-...__., ..
-
=---
- "'..,-
,,=:::::;:111 ~-
.
~
·...____
-.J-
Emi
Horns 2
".li!
l
•
....
-
l
l
~~~
~~
l
_:lf, - ..
-
..____ (),~)
'f#
• •
·+-J,O
Emi]
. -:J_
-#- '
i-" tr·~~
_,
B-?~)
~
-
_,_
-.#
-.
.A..
>
-)
-J
Emi >l
B
Emi7
1
1J
.-
l
2
•
-~~
..r--
. .. E'mi
r-.~
-c:[4- ~ ~ ~
>
-
r=-r-.......
~
•
:::::::::-j i .
~
~
>
~
r-, >>
r-
l':fl'-$~~,
B?- 1 - -~
*
B0·9> -,.
-
---.t-
11''
+
---
Horns 2
..
-
l.
Horns l
~
• •
-T •
l
l
~
•
- ._,
r--. ...
r
• • • •
---
r
Ami l.
--
ioo-""'
""'-l
~
-,
~
E:r
~------:-~-,
r
~="T-l!
.....
-t..------..~
-A
.___.....
B-ib~>
~
r1
.. .. l
• i
--
m·,
- ~ :t-::=:::t #
~-
_.
-
f-#-.
..
·'
_
·--1
c~
E1
Br
~..-.
.--. -*-=t=-
-;;,;
~~
l
~
,. '
-f-
~-,
~
l
-
'""::!! --
-
---t
-
Le--~-
-+
-~
,
~
--
~
86 .
LAGRIMAS DO FOLL.\0
r\Jlo
~
l
~
~---
...
,jjo~ ::--c-
,..._,_
r--'11 -~-
-
-
...--..
~
~
"'"""-~
~
ErYI·,
AWii
.. ~
B1epo,)
~11-
11.
l
Emi
.--1
,..-!-c-_,_~
!CODA!
t!} Borns l
~·-~ ~
>
> >
r--,
-....
> >
l'l-
'!;.
-
B1
-
112.r-= H~-li
-1
)
-
~
Emi ~
,_
•
r--"1
-
.
~
- Emi
f.ì
Horns 2
-$-
f+
HORNSinEb 1\Jio
Horns l
~~~
L--.~
~.....__..-;ff
-., ftt.
r\..r.
Horns 2
f:- _,_ =6-
Bvni
f::. -!--...
~~
.-
,.------..~
;::...J..,:j ~
l
~
l
.... 87 LAGRIMAS DO FOLL.\0
r\w
r--, ~11. ~
~
-
y
~"'') '\.J.io 1
~
~trL112.
>
~
"'"'
r
~
l'mi
l
f-f--f-
3 ...... - - t---
> ). >
-
;L .--
Bmì ._._
~
.f-~!-~t-~
.,.......------.. .. ~-!'-
----
Ft~
-:f- -f-~.
-
Emi
~
---...;;;;!
~(pq)
Bmi 3...-.
-
-
-
> > >
'""'"-!
~
q
1\
~
> >
5 ·~> _,__
ICODAI
0 a~~~~J -$
Horns l
'f,B . VYJI
FORM:
l
t:\
[ [AJ
[ID ]
[AJ no rep.
ICODAI
1
>~
+
""-
l
----.::1
-·
f-t
-F.#= t
....---..
.,
;;>
~
Bmi
11.
>
1\
1
Bmi ~--
1\
"""'""
lo.,.,j-
~
-
._
F~ c_pq)
Bmi ~
-El}
~
~-:-:'t t-
"" -"'"'-.....:::= (b'l)
112.
~ ~
L...= Bmi
..
"t-
....... 'h
,L
f:~!-
l
88
Frevo: Mutata at the carnival in 0/inda, Pernambuco
Photo: Andreas Ramb0ll
.... 89
LYRICS The lyrics are written in Portugese, in phonetics and in English translation. The phonetic symbols are pronounced as follows. a b d e er g k o ou p r r
as in asin asin asin like as in like as in like asin
father ebb wonder French «arrivé» air go "ee" in "see" pronounced softly French «chateau» o in "go" appie at the end of a word pronounced as in English. in the middle of a word pronounced with a slight roll of the ti p of the tongue.
s u y z re :l
I 3 ug
asin asin like asin asin like like like as as
sea cattle "oo" in "good" yes zoo e in shell o in "off' "schh" a voiced "schh" a nasal ng
A small raised vowel (eg. as in ai) is pronounced in the same syllable as the associated large vowel - the larger vowel is longer. The remaining letters are pronounced as in English. In certain cases, the stress in a word is indicated with a small vertical line. The rest of the words are stressed as they would be in English.
- DA SAMBA MULHER QUE NAO Parece que vai tudo em santa paz Na base do mais ou menos, Um pouco mais menos do que mais, Tao regular, sem reclamar, Porem nao satisfaz, Mas francamente - de que serve tanta paz.
Pa'rrese ki vai 'tudureing santa paii Na baze du ·maiz ou 'menui Ung poku maii menui du ki maii Thung hegu'lar sreing heklaimar Porreing naung satisfaii Maii franka'mreingtchi, d3i ki serve tanta paif.
Ainda se fosse brava, porem competente, Se atnl.s da bronca viesse a roupa limpa ou café quente, Ou se fosse ignorante no claro e ardente no escuro Eu lhe asseguro, nao faria falta a paz.
~inda se 'f:Jsse brava porreing kongpe'treingtchi S& traii da br:>nka vi essea h:>pa 'limpa0 kafre kreingtche ou se f:>sse igino' rantchi nu 'klarue ardenti no es' kuru JEU lyea se'guru, naung fa'ria fautar paii.
Mulher que nao da samba eu nao quero mais.
Mul'yrer ki naung dar samba reu naung kreru maii.
-
NAO VOLTO PARA CASA Eu nao volto mais pnl. casa Emquanto aquela mulher Nao me abandonar Aquela mulher ficou louca Rasgou toda minha roupa E tentou me acabar. Eu nao sei o que eia tem Pra ficar tao furiosa Eia sempre teve linha Nunca foi escandalosa Mas agora deu a !oca Minha roupa eia rasgou E me espera de tocaia Mas eu juro que nao vou Mas eu juro que nao vou.
./. BIS
JEU naung 'v:>utu maii pra 'kaza JEing'kuantu a'krela mul'yrer Naung me a'bandonar ~krela mul'yrer fikou louka Hasgou toda minya houpa I tren'tou me aka'bar. JEU naung srei ukirela treing Pra fi'kar taung furi':>za .tEla sreingpre treve lingya Nungka f:>i iskanda 'l:>za Maii ag:>ra dreu a bka Minya houpa rela has' gou I me sprera d3i t:>'kaya Maii reu 3uru ki naung vou Maii reu 3uru ki naung vou.
90
ROCHEDO Estti mais pni chorar Do que sorrir Esta mais pra perder Do que ganhar Esta mais pra sofrer Que se alegrar Esta mais para la Do que pra ca.
'Efta maiJ prafo'rar Du ke sdhir Efta maiJ pra per' der Du ke gan' yar Efta maiJ pra so' frer Ke se ale'grar Efta maiJ para la Du ke pra ka.
./. BIS
Ei, amigo!
JEi a'migu!
Ami go Essa vida num ta boa O sufoco vem na proa Desse barco que é a vida E nessa briga Da maré contra o rochedo Sou marisco e tenho medo De nao ter urna saida.
1\migu lEssa vi da nung ta 'boa U su' foku vceing na proa Dcesse barku kice a vida I ncessa briga Da ma'rce kongtrau hofcedu sou ma'rifkue tceingyu mcedu D3i naung tcer urna sa'ida
./. BIS
DINDINHA LUA Deus vos salve lua nova Deus vos salve quem vos cria Deus vos salve a estrela branca E o rosario de Maria
Dceus VOS Sauve lua n::!Va Dceus vos sauve kceing vos kria Dceus vos 'sauvai strela branka Iu ho' sario d3i Maria
Nos livre de dor de dente Da lingua do povo e de agua corrente E toda vez que aqui voltar Dindinha lua Traga de sua semente.
Nof livre d3i dor d3i dceintchi Da 'lingua du 'povue d3i 'agua ko' hceintchi I t oda vceiJ kya' ki v;:,u' tar D3in' d3inya lua Traga d3i sua semceintchi.
Miie natureza Que beleza é o luar Clareando as verdes matas Esse rio, esse mar. ./. BIS
Maing natu'rceza Ki be' lcezace u lu' ar Klare' anduas verd3es matas lEsse hio, cesse mar.
Lua cheia e seus quartos Tho crescentes, tiio minguantes Lua que clareia a estrada Orienta os viandantes
Lua syceia i seus kuartus Thung kre'sceingtches, taung min'guantches Lua ki kla' rceiaes trada ;:,ricenta uf vian' dantches
Pede ao vento que semeia Pede a chuva pra molhar A semente que me traz Dindinha lua Em cada quarto de luar.
'Pced3iau 'vceingtu ki se'mceia 'Pced3ia Juva pra molyar A se' mceingtchi ki me traiz D3in' d3inya lua JEing'kada 'kuartu d3i lu'ar.
Ma e natureza ...
Maing 'naturceza ...
-91
NO SOM DA SANFONA Ouvi o toque da sanfona me chamar Ouvi o toque da sanfona me chamar.
./.BIS
ouvi u 't:Jgi da san'f:ma meJa'mar ouvi u 't::>gi da san'f::>na me Ja'mar.
Um sanfoneiro bem maneiro Puxa o fole Folia a noite inteira Até o dia clarear O cabra vem se aconchegando Se relando Quando o pagode esquenta Ninguém quer sair de 1le Folia mitchi entceira Te o d3ia klare'ar U 'kabra vceing seakongfe'gandu Se helandu Kuan'do pa'g::>d3e Jkcenda Nengceing kcer sa'ir d3i la.
Ouvi o toque da san fon a me chamar. ..
ouvi u 't::>gi da san'f::>na me Ja'mar...
Eta pagode que ta bom Que ta danado Morena aqui do lado Faz o boneco chorar Chora num chora Morena disse que chora No som de urna viola Faz o corpo balançar.
JE'ta pa'g::>d3i ki ta bong Ki ta da'nadu Morcena ki du 'ladu FaiJu 'bonceku forar J::>ra nung J::>ra Morce'na di'si ki 'J::>ra No s::>ng d3uma vi'::>la FaiJu korpu balang'sar.
Ouvi o toque da sanfona me chamar. ..
ouvi u 't::>gi da san'f::>na me Ja'mar...
Quem é sambeiro, batuqueiro, forrozeiro Tem privilégio agora Soçayte particular Agora toda classe alta Quer xaxa Forr6 de brasileiro Chegou em todo lugar.
Kceing ce sam'bceiru batu'kceiru f::>h::>'zreiru 'lleing privi'Icei3ua g::>ra s::>'sait patJiku'lar 'Ag::>ra t oda klasse 'auta Kcer fa'fa F::>h::> dji brazi'Jceiru Jegou ceing 'todu lu'gar.
Ouvi o toque da sanfona me chamar. ..
ouvi u 't::>gi da san'f::>na me Ja'mar...
92
TODA MENINA BAIANA Toda menina baiana Que Deus da Toda menina baiana Que Deus da Toda menina baiana Que Deus da Toda menina baiana Que Deus da
tem um santo tem encanto tem um jeito tem defeito também
Toda me'nina baiana tceing Ki Dreus da Toda me'nina baiana tceing Ki Dreus da Toda me'nina baiana tceing Ki Dreus da Toda me'nina baiana tceing Ki Dreus da
ung 'santu,
ceing'kantu, ung '3reitu,
de'fceitu taung'bceing
Que Deus deu Que Deus da.
Ki Dreus dreu Ki Dreus da.
Que Deus entendeu de dar a primazia Pro bem, pro mal, primeira mao na Bahia Primeira missa, Primeiro indio abatido também Que Deus deu.
Ki Dreus en'trendeu d3i dar a prima'zia Pro bceing pro mau Pri'mceira maung na Ba'ia Pri'mceira 'missa Primceiru 'indy,ua ba'tchidu taung'bceing Ki Dreus dreu.
Que Deus entendeu de dar toda magia Pro bem, pro mal, Primeiro chao na Bahia Primeiro carnaval, Primeiro pelominho também Que Deus deu.
Ki Dreus en'trendeu d3i dar to'da ma3ia Pro bceing pro mau Pri'mceiru Jaung na Ba'ia 'Primceiru karna'vau Pri'mceiru pre'louriniu taung'bceing Ki Dreus dreu.
A, a, a, a (que Deus deu) O, o, o (que Deus da)
A, a, a, a (Ki Dreus dreu) ou, ou, ou (Ki Dreus da)
,_
CONSIDERAçAO Eu nao gostei Me faltaste a consideraçao O que tu me fizeste Nao tem classificaçao Tu nao sabes amar Para que tens um coraçao Ai meu Deus ... O melhor entre n6s dois É a separaçao. ./.BIS
.tEu naung g:>'stcei Me fau'taftea kongsi'derasaung Vke tu me fi'zreftchi Naung tceing klassi'fikasaung Tu naung 'sabes a'mar 'Para ke tceings ung 'k:>rasaung Ai mreu DreUs O mrel'ior ceingtre n:>s d:>iJ .tEa se'para'saung
Eu sei que vou sentir muita saudade Com todos os defeitos teus Ja te tenho amizade E forçada dou-te este castigo Jamais faras a outra O que fizeste comigo.
.tEu scei ki vou sen'tchir muing'ta sau'dad3i Kong 'toduf uf 'defceitus teus 3a ti tceiogiu ami'zad3i I for'sada doutices'tchi kas'tchigu 3a'maiz fa'raiz a 'otra U ki fi'zreftchi ko'migu.
Eu nao ...
93
A Woman with no Samba
l'm not going Home
(Mulher que nào da Samba)
(Nào volto para Casa)
lt seems that everything's breathing clean, innocent peace sort of, more or less A bit more less than more, So regular - nothing to complain of, But nothing to be satisfied with, either And quite honestly, what's the use of ali that peace, anyway!
l'm not going home So long as that woman Hasn't left me, That woman went crazy Tore up ali my clothes And tried to kill me.
Even if she was fiery, but diligent If after the storm had abated there were clean shirts Or hot coffee - Or if she was hopeless in the kitchen And a bali of flame in bed I assure you, that peace would not be lacking. A woman with no Samba, never again.
I don't know what's getting at her That makes her so mad, She's always been upright And never caused a scandal, But now she carne aut of her hiding piace My clothes she tore to pieces And now she's lying in wait far me But I swear I won't come!
The Cliffs
Godmother Moon
(Rochedo)
(Dindinha Lua)
It's more like crying Than smiling lt's more like losing Than winning It's more like suffering Than enjoying It's more bad Than good.
God bless you, new moon God bless you, he who creates you God bless you, white star And Mary's rosary, 1t gives us relief from toothache From gossip and running water And every time you return, Godmother Moon, You bring with you your seed.
My friend! My friend This life is not good A choking death is coming from the bows Of this boat called life, And in this struggle Between the tide and the cliffs I am a shellfish and l'm afraid Of not having any escape.
Mother nature How beautiful the moonshine is, lt lights up the green forests This river, this sea. Full moon with your phases, Both waxing and waning, Moon who lights up the road And guides the travellers, Asks the wind who sows, Asks the rain to water The seed that you bring me, Godmother Moon, In each phase of the moon.
94
To the Sound of the Accordion (No Som da Sanfona)
I heard the sound of the accordion calling me. An accordion player's really working those bellows Partying ali night long till the break of dawn The Mestiz has come to enjoy himself When the party starts to boil nobody wants to leave the piace. This bali is good, it's wild The dark giri beside me has made the viola weep, It's weeping and weeping She's said that when the viola starts to weep It makes your body dance. He who plays the samba, batuque, forr6 Is privileged and has a special rank Now the whole upper class wants to dance forr6 The people's forr6 is everywhere.
Any Giri from Bahia
Consideratio n
(Toda Menina Baiana)
(Consideraçào)
Any giri Any giri Any giri Any giri
I didn't like it, You showed me so little consideration, What you did to me Is beyond description You don't know what loving is - What is your heart for? Oh, MyGod! The best thing between us Is the separation.
from from from from
Bahia has a saint, which God gives Bahia has a charm, which God gives Bahia has a manner, which God gives Bahia also has faults, which God gives
Which God gave, which God gives. Which only God could show the highest deference Good or bad - the first hand he placed on Bahia The first mass, the first Indian killed, too - Which God gave. Which only God could give, full of magie Good or bad - the earth of Bahia carne first The first carnival, the first pillory, too - Which God gave.
I know I will really miss you Even with ali your faults l'm stili attached to you, And l'm forced to pronounce this sentence: Never do to another What you did to me.
