World-Beat-Rythms-Brazil.pdf
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47 TRACKS!
For Drummers, Percussionists, and All Musicians
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by Maria Martinez & Ed Roscetti
ISBN 0-634-04 836-8
HAL-L EONARD "
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RAT ION
7777 W. BLUI!:MOVNO Ro. P.O. BOX 138 19 MILW,o.UKEE. WI 532 1 3
In Australia Contact: Hal Leonard Australia Ply. ltd. 22 Taunlon Orive P.O. Box 5130 Cheltenham East. 3192 Victoria, Australia Email : ausadmin @halleonard.com Copyright Cl 2oo3 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved No pari of this publication may be reproduced in any form or by any means without the prior written permission of the Publisher. Visit Hal leonard Online at www.halleonard.com
Foreword Ed Roscetti and Maria Martinez have come up with a truly unique concept bringing together educators, students, professional s, and hobbyists of all ages with their "World Beat Rhythms Beyond the Drum Circle" book/CD series. The books are easy to follow and each chapter is self-contained with instrument photos, rhythm indexes, grooves, and percussion scores. They make the learn ing process fun and enjoyable. Ed and Maria's approach helps to increase your rhythmic vocabulary, develop auth enticity, and open the door for you r own musical creativity. It's appropriate for mu sicians of all leve ls who play any instrument, as well as drummers and percussionists. This book/CD se ries is a great asset to all music educators and band directors to get their orchestras, band ensembles, and students of all ages grooving together. I highly recommend this series to all music educators, students, professionals, and hobbyists. Joe Porcaro
About the Authors MARIA MARTINEZ, original ly from Camaguey, Cuba and raised in New Orleans, Louisiana, is a respected drummer, percussionist, clinician, and educator now living and working in Los Angeles since 1981. She is the author of several educational publications, including Instant Guide to Drum Grooves (book/C D package), Brazilian Coordination for Drumset, and Afro-Cuban Coordination for Drumset (video and book/CD packages), all published by Hal Leonard.
Maria is a contributing author for Modern Drummer, Percussive Notes, Drum Magazine, Latin Percussion Educational Newsletter, and Drum Instructors Only Newsletter. She is co-founder and author of the "World Beat Rhyth ms (WBR) Beyond the Drum Circle" Workshop Series and the WBR Beyond the Drum Circle book/CD series, including WBR- Brazil, WBR-Africa , and WBR-Cuba (2003 Hal Leonard). She has taught master classes, conducted clinics, and played at events such as PASIC (Percussive Arts Society International Convention) , NAMM (National Association of Music Merchants), and TCAP (The California Arts Project) among others. Martinez pursues an active free-lance career, having performed and shared both stage and studio with such artists as Barry White , EI Chicano, Rita Coolidge, Nel Carter, Angela Bofill, Klymaxx, Emmanuel , Joh nny Paycheck, and Trini Lopez among others. Her television and recording appearances include The Late Show, The Drew Carey Show, Dukes of Hazzard, Soul Train, Desde Hollywood (Univision). No Borders (C D) , and others. Maria endorses Paiste Cymbals, Regal Tip Sticks, Latin Percussion , Pearl Drums, Remo Heads, E-Pad Company, and Rhythm Tech . Professional Affiliations: American Society of Composers, Authors, and Publishers (ASCAP) American Federation of Musicians (AFM) Percussive Arts Society (PAS) ED ROSCETTI , originally from Niagara Falls, New York, is a drummer, composer, educator, author, and clin ician now living and working in Los Angeles since 1979. His critical ly praised Hal Leonard book/CD, Drummers Guide to Odd Meters, was chosen as the number two method book in Drum Magazine's 2001 readers poll. His Blues Drumming book/CD package (2002 Hal Leonard) earned the review, "If you can't play the Blues after using this book, you should be bl ue:' - Terri O'Mahoney, Percussive Notes. Ed's most recen tly released publication is Funk & Hip Hop Grooves for Drums (book/CD package, 2003 Hal Leonard) . He's a contributing author for Modern Drummer magazine and curriculum author at Musicians Institute (PIT). Ed is also co-founder and author of the "World Beat Rhythms (WBR) Beyond the Drum Circle" Workshop Series and the WBR Beyond the Drum Circle book/CD series.
Playing, composing, and/or arrangi ng credits include Saturday Night Live, General Hospital, Santa Barbara, Sunset Beach, Knight Rider, Lifestyles of the Rich and Famous, and numerous fi lm and movies of the week. Record producer, arranger, and/or songwriter cred its include Bryan Savage (Catfood), Pocket Change (Mediterranean Affair) , Clair Marlo (Let It Go), Ed Roscetti (Landscapes of Christmas and Utah Christmas) , World Music for filmmakers , Ford/JBL Compilation , and ACTV Interactive. Roscetti has worked or collaborated with Quincy Jones, Herbie Hancock, Joe Sample, the Cru saders, Barry Mann/Cynthia Weil , Benny Golson, Robben Ford , Jeff Baxter, Tommy Tedesco, Joe Porcaro, and Jeff Porcaro, among others. Ed endorses Drum Workshop/Pacific, Paiste, Remo, Regal Tip, Shure Inc. , Event Electronics, Emagic, Digidesign, Presonus, and Mountain Rythym . Professional Affiliations: American Society of Composers , Authors , and Publishers (ASCAP) National Association of Recording Arts and Sciences (NARAS) American Federation of Musicians (AFM) Society of Composers and Lyricists (SCL) Percussive Arts Society (PAS)
/
Dedication This book is dedicated to Joe Porcaro for his friendship and generosity.
Special Thanks to: Robin Wright, Claudia Dunn, John Hartmann, Joe Porcaro, Curt Bisquera, Matt Laug, Richie Garcia, Steve Ettinger, Damon Tedesco, Dean Alling, Silvio Bruno, Hussain Jiffry, Tim Emmons, Todd Johnson, Tim Metz, Janis Wallin, Corey Flanigan, Jeff Stern, Joey Cataldo, Scott Moyer, Markus Brox, Jeff Surga, Aime Moore, Louie Marino, Groovetoons, Silvio Songs, Chad Johnson, MusiComp, and everyone at Hal Leonard.
Thanks for Your Support: Scott Donnell (Drum Workshop/Pacific) Rich Mangicaro and Andrew Shreve (Paiste) Carol Calato and Dan Schieder (Regal Tip) Gavin Carignan, Brock Kaericher, Bill Carson, Eduardo Chalo, Matt Connors, and Chris Hart (Remo) Steve Nigohosian, Ray Tregellas, Terry Tlatelpa, and Kimberly Redl (Latin Percussion) Spence Strand (Rhythm Tech) Ed Eblen (E-Pad Company) Mike Farriss and Stephen Bennett (Pearl) Ryan Smith (Shure, Inc.) Chrissy Laughlin (Emagic) Chandra Lynn (DigiDesign) Rick Naqvi (PreSonus) Michael Marans (Event Electronics) Terry Bissette and Lionel Barton (Sam Ash) Ryan Goldin (Mountain Rythyms)
WBR Uses the Following Equipment and Software: Pacific LX Series Drumset (Drum Workshop/Pacific) www.pacificdrums.com Paiste Cymbals and Gongs (Paiste) www.paiste.com Remo Drum Heads and World Percussion (Remo) www.remo.com LP Udo Drums and Clay Tones and misc. hand percussion (Latin Percussion) www.lpmusic.com Shakers (Canz) (Rhythm Tech) www.rhythmtech.com Sticks, Brushes, and Mallets (Regal Tip) www.regaltip.com KSM 32's, KSM 27's, and Beta Series Microphones (Shure, Inc.) www.shure.com 20/20 Biamplified Studio Monitors and 5.1 Surround (Event Electronics) www.event1.com Protools LE (001) (DigiDesign) www.digidesign.com Unitor II MK and Logic Platinum, EXS-24 and EVP-88 software (Emagic) www.emagic.de Digimax Mic Pre (PreSonus) www.presonus.com Pearl Drums, Percussion (Pearl) www.pearldrum.com All percussion scores composed, arranged, and produced by Ed Roscetti and Maria Martinez, Groovetoons (ASCAP) and Sugar Cube (ASCAP) © 2002 All rights reserved Drums and Percussion: Bass: Bass Arrangements:
Maria Martinez and Ed Roscetti Hussain Jiffrey Ed Roscetti
Recorded at Silvio Songs and Groovetoons, Studio City, California by Ed Roscetti and Silvio Bruno. Mixed at Silvio Songs and Groovetoons, Studio City, California by Ed Roscetti and John Hartmann. DAWTech: CD Mastering: Drum TeCh/Cartage: Studio Tech: Photographer:
John Hartmann Damon Tedesco of Mobile Disc & Oat Tim Metz, Corey Flanigan Dean Alling Larry Plumeri
TABLE OF CONTENTS CD Track INTRODUCTION ........... . . . . . . . .. . ....• . ... ABOUT THE RECORDING ... . . .... . • . . .
1
2 3
3 4
5-6 7 7 8 8 9 9 10 10 11-13 14-15
16 17
18 18 19 20 21
22 23 23 24 24 25 26- 27 28- 30 31-32
33 34
35 35 36 37 38 39 40 40 41 42 43--45 46-47
Page . ... . .. 6 .6
CHAPTER 1: ODOLUM ........ ....... . ... 7 Rhythm Indexes ... .. ...•. .. .8 .8 Quarter Note Equals 80 ..... ... .... . .. . . .. . ... Quarle r Note Equals 90 . ... . .. ... .. ... .••.. . .. . . . .9 Olodum Score . . . . . . . . . . . . . . . • . . . . . . . . . . . . . . . . . . . .. .12 Instrument Demonstrations ..... . . ..... . ............. .1 3 Shaker . ... ... .. . .. . . . ... .. . ... . .13 Drumset . . . . . . . . . • .. .. ... . . . ..• . . .. ... . ... 14 Tom-Toms . .... .. .. ... . .. . .. . . ... . . • . . . . ... . . . .15 Surdos . . . ... .. .. . .. . .. . . . ...... . . .16 .17 Repinique . . . . . . .. . . . ... .. . . . .. Triangle . . .......... . . . .... .. . . . • . .. ..• .. . . .. ... . .18 Ago-go Bells, Ago-go Drums ....... .19 Caxixi (Baskets) . . . . . . . . . . . . . . •. . . .20 Djembe ......... ....... . .21 Doumbek .. . ..... . .. .. .. . . .... .• . . . ..• . . . . ..... . .22 Snare Drum ....... .. . . . . . . .. . . .•.. . . . • . . .. . . . . . .23 Klang Yaw . . . ..... . • .... . . . . . . ......... 24 Odolum Breaks . . . . . . • . . . . . . . • . . . . . • . . . . . .. 25 Odolum Chart . . . . . •• . . . ....• . .. .. • . . .. . . . .. ... . ... . .26 CHAPTER 2: BAIAO .. . . . . . . . ...... 28 Rhythm Indexes ... ... . .. ..•. .. . .29 Half Note Equals 80 .... .. . ... . .... . .. .. ... . .. . ... ... 29 Half Note Equals 104 . . . . . . . . . . . . . . . . . . . . . . . .. . .30 Baiao Score . . . . . .. .• • . .... . . ...•• . .......... 33 Instrument Demonstrations . . . . • . . . . . . . . . . . . . . . . . .. 34 Shaker . . . . . . . ...... . . . . . • . .. ... • . .... ...... 34 Drumset . . . . . . . . . . . . . . . . . . . . . . . . . ..... .... . .... 35 Surdos . . . . . . . . . • . . . . . . . • . . . . . . • . . . . . . • . . . . .. 36 Repinique .... . . . .. ... . .• . . .. .. •. .... . • ..... . . .... 37 . . . •. . . . .. 38 Djembe ......... . ... .. • •. . . . Snare Drum .....• . ... . .............. . .. 39 Pandeiro ... . .. . . .. ..... ••. .. ....... . . .40 .. . .. . . .. . ..• . . . . . . • . . .. . . • . ... .. .. .. .41 Klang Yaw . . ... . .. . .. . • .. ... .•. . ....•. . . . .. .... .42 Conga Triangle ......... • ....... • •.....• .. .... . ......... .43 Doumbek . . . . . . . . . .. . . . . . . . . . . . . . . ... .44 Sound Shapes .• . . ... ..••. .. . . . . .. .. . • . ... . . ... . .45 Baiao Brea ks . . . . . ••. . . . .46 Baiao Chart . . . . . . .......... . .....• . ...... . ........ .47 .. . . . . . . . .. . . . • . . . ... . .. . ....... 50 CHAPTER 3: SAMBA Rhythm Indexes .. . . . . .. ...... • .. .. .. . . . . . ...... 51 Half Note Equals 80 . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .51 Half Note Equals 11 0 ..................... . .52 Samba Score . . . . . . . . . . . . . . . . • . . . . . . • . . . . . • . . . . . . . . .55 Instrument Demonstrations .... • • . . . . . . .. . . .• • . ... . ..... 56 Shaker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .56 Surdos .. .. ...... . . .. ..... .. .. . ... . ..... . ......... 57 Djembe . . ... . . ..•• . . . . . .. • .. . .. • . . .. ..•. . .... ... .58 Repinique ... . . . . • •. ...... •. .. . . • . .. . . . .... .59 Pandeiro ..... .. ...... . ...... . ............... 60 Klang Yaw ............................. .61 Snare Drum . . .. . ......... . . . . . . • ... ..• . ..... . ... 62 Ago-go Bells, Ago-go Drums ... • • ... . .. . . . .. 63 Sound Shapes . . . . . .. . . . . . ..• . .. .. .• ... . . . . .. 64 Drumset . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .. . .65 Samba Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 Samba Chart . . . . . . . . . . • . . . . . . . . . . . . . . . . . . . . • . . . . . . .67 Cymbals ....... .. ....•. . ...... .. . . . •• .....••.... .70 CONCLUSION ...• . .... ...•• ... . ..• .. . .. . . . .. .. . . . . .. .... 72
Introduction "World Beat Rhythms (WBR) Beyond the Drum Circle-Brazil" is part of a book/CD series that explores rhythmic styles from different regions of the world. The hybrid compositions and rhythms in this book are influenced by the popular Samba, Olodum, and Baiao styles of Brazil. In this workbook you will learn ethnic and hybrid rhythms on different percussion instruments including drumset. Both traditional and non-traditional instruments were used to play the compositions, and we encourage you to use an alternate for any instrument you may not own. This hands-on approach will teach musicians and non-musicians of all levels how to feel and move time with each percussion part while gaining a rhythmic awareness that can be applied to any musical instrument. Specifically the book contains photographs of each percussion instrument, instruction on techniques used to play each instrument, percussion scores, rhythm indexes played at different tempos, worksheets, percussion breaks, charts, and audio examples of each rhythm demonstrated on their respective instruments. Each chapter is self-contained, and in addition you will be able to play along with the entire percussion ensemble (accompanied by bass guitar) on the CD, recorded with and without drumset. The "World Beat Rhythms Beyond the Drum Circle" series includes WBR-Brazil, WBR-Africa, and WBR-Cuba. It's an invaluable tool for all students from beginners to advanced levels and music educators who are teaching students to have a deeper awareness of time and time-feel. This material can be used for teaching groups or a single student. In addition to using this book/CD package we encourage you to play with other people and have a good time.
About the Recording In order to assist you in developing the proper ''feel'' for the rhythms covered in this book, the accompanying compact disc features demonstration and play-along tracks that can be used when learning and practicing the examples. The demonstrations on the CD are identified with the corresponding track number under an icon next to the written example.
CD Track Log This log lists the specific instruments heard on each track on the accompanying CD. Chapter 1: Olodum 1) Rhythm Index (quarter note equals 80) 2) Rhythm Index (quarter note equals 90) 3) Shaker, Drumset, Bass Guitar 4) Shaker, 12" Tom-tom, 14" Tom-tom 5) Shaker, Large Surdo, Small Surdo 6) Shaker, Medium Surdo 7) Shaker, Two Repiniques, Two Triangles 8) Shaker, Ago-go Bells, Ago-go Drums, Caxixi (Baskets) 9) Shaker, 16" Djembe, 10" Dumbek 10) Shaker, Snare, Klang Yaw 11) Break #1 12) Break #2 13) Break #3 14) Chart with Drumset 15) Chart without Drumset Chapter 2: Balao 16) Rhythm Index (half note equals 80) 17) Rhythm Index (half note equals 104) 18) Shaker, Drumset, Bass Guitar 19) Shaker, Large Surdo 20) Shaker, Two Repiniques
6
21) 22) 23) 24) 25) 26) 27) 28) 29) 30) 31) 32)
Shaker, 16" Djembe Shaker, Snare Shaker, Pandeiro, Klang Yaw Shaker, Conga, Triangle Shaker, Dumbek Shaker, Sound Shapes Shaker, Sound Shapes (Two Surdo Variations) Break #1 with Caxixi Break #2 with Caxixi Break #3 with Shaker Chart with Drumset Chart without Drumset
Chapter 3: Samba 33) Rhythm Index (half note equals 80) 34) Rhythm Index (half note equals 110) 35) Shaker, Large Surdo, Small Surdo 36) Shaker, 16" Djeinbe 37) Shaker, Two Repinique 38) Shaker, Pandeiro 39) Shaker, Klang Yaw 40) Shaker, Snare Drum, Ago-go Bells, Ago-go Drums 41) Sound Shapes (Two Surdo Parts with Cowbell) 42) Shaker, Drumset, Bass Guitar 43) Break #1 44) Break #2 45) Break #3 46) Chart with Drumset 47) Chart without Drumset
CHAPTER 1: OLODUM Salvador, the capital of Bahia, is recognized as one of the most unique and exciting cities in Brazi l. The Olodum (ohlow-dune) rhythmic style originated in the Northeast region of Brazil and is heavily influenced by African culture. The word "Olodum" means "God" in the Loruba lang uage. Like all of Brazil , Bah ia was first inhabited by indigenous groups, colonized by th e Portuguese, then subject to invasions by the Dutch. This racial and cultural melding continues to dominate the social landscape of present day Salvador and Bahia. The group Oiodum is one of the most popular and admired "bloco-Afro" performance groups, wh ich is best described as a singing and percussion ensembl e. The music and lyrics of Olodu m carry a clear message that uniquely identifies the African cu lture of Northeast Brazil. Some of the traditional percussion instruments utilized in this style are the surdo drums, repi niques, snare drums, and timbales. Paul Simon's 1990 release, The Rhythm of the Saints, helped popularize the Olodum style.
7
Rhythm Indexes The Rhythm Index is a breakdown of rhythms from the Olodum percussion score written in common time (4/4). Common time means there are four beats per measure, and the quarter note gets the beat (pulse). Listen to each two-bar example, then answer the rhythm played in the next two bars while tapping your foot to the quarter note pulse. The twenty-two examples will take you through the entire Rhythm Index and will help build your rhythmic vocabulary. Playing (locking in) with the shaker will help you to develop a strong time feel.
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Olodum Score The Olodum score shows all the percussion and drumset parts that are featured demonstrations on tracks 3-10 and played on the chart (tracks 14 and 15). Take the time to learn the following demonstrations and concentrate on your time feel, different tempos, and dynamics. After mastering the parts in the percussion score, return to the worksheet and write your own rhythms that can be applied to the score.
Shakers
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Small Surdos
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Ago-go Bells Ago-go Drums
High Bell Low Bell
Caxixi Baskets
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16" Djembes
x = Fist o = Open Tones
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10" Doumbeks
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KlongYaws
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Suspend Snare Drums
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Drumset (4-Bar Phrase)
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Instrument Demonstrations The following demonstrations are examples of the basic technique and hand positions used for each percussion instru ment played in the Olodum score. Refer to CD tracks 3-10.
Sha ker
Figure 1
Figure 2
Figure 3
Shakers are containers, usually made of plastic, metal, or wood, which are common ly filled with a variety of materials such as small pebbles, rice, sand, or beans. Th e function of the shaker is to move the time feel forward in the ensemble. It can also be used for sound effects by shaking the instrument with a swift motion. Different techniques can be used to play the shaker with either one hand (see figure 1 and figure 2) or both hands together (see figure 3). The motion used will affect the overal l feel and can be played with or without accents. Accented notes require a broader movement, and unaccented notes utilize less motion. Liste n to the time feel of the shaker demonstration on track 3 and then play alon g with track 14.
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Drumset
Percussion instruments have existed since 6000 B.C., all over the world. The drumset was invented in the nineteenth century, after the invention of the bass drum pedal. This al lowed a single person to play multipl e percussion parts simultaneously. The drumset took off with a bang at the beginning of the twentieth century, when drummers commonly accompan ied jazz musicians. The standard drumset consists of a bass drum, snare drum, two tom toms, hi-hat cymbals, ride cymbal , and two crash cymbals. Sizes vary considerably from 24"-18" bass drums to 8"-18" toms and snare drums of all shapes and sizes. Drummers such as Louie Bellson, Keith Moon , Ginger Baker, and Bi lly Cobham pioneered the two bass drum techniques. Rock drummers at times used large tom and cymbal setups. Calfskin drumheads were eventually replaced by plastic heads, and a large variety of sticks and brushes were invented. Cymbals and gongs were made of different types of metals or alloys such as brass, copper, bronze, tin , nickel, and zinc. Some drummers use triggers in their drumsets and external pads to trigger samplers and other midi devices. Listen to the drumset demonstration on track 3 and play along with track 15.
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The tom-toms are cylinder drums with one or two heads and are part of the drumset. Although this is an indefinite pitch instrument , larger drums do have a lower tone. The tone is influenced by the diameter of th e head, the head tension, and the depth of the body. Tom-toms are generally used in sets and are commonly used as part of the drumset but can also be played separately. Concert toms are used primarily in orchestras and also have been used by drumset players. They range in sizes from 6" , 8",10",12", 13", 14", 15", 16", and 18" in diameter, and their depth sizes vary as well. They are commonly played using sticks or mallets (see figure 1). Alternatively, they can be played with one mallet while muting the drum with the other hand (see figure 2) or with an open tone (see figure 3) . Listen to the tom-tom demonstration on track 4 and play along with track 14.
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Surdos
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The surdo is the pulse and provides the bottom or bass tone for the percussion ensemble. They are large two-headed drums usually made of wood or metal and are played with a soft mallet (see figure 1). While the mallet in one hand plays the accented notes (see figure 2), the other hand plays muted or ghost notes (see figure 3) to accompany the main pulse. They come in a variety of sizes, categorized as small, medium, and large. Surdo marcana is the largest of the three drums, and the approximate sizes are 24" x 20", 22" x 24" , and 20" x 22" (an 18-inch or 16-inch floor tom can be used as a substitute for the large surdo) . The contra-surdo is the medium drum , and the sizes are approximately 15" x 16", 16" x 18", and 18" x 16" (a 14-inch or 13-inch tom-tom can be used as a substitute for the medium surdo). The surdocortador is the smallest of three, and the sizes vary from 12" x 13" to 13" x 14" (a 12-inch or 1Q-i nch tom-tom can be used as a substitute for the small surdo) . Listen to the large surdo demonstration on track 5 and then play along with track 14.
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Repinique
The repiniqu e is a Brazilian percussion instrument often used as a lead, cue, or solo instru ment for the percussion section of th e Samba. The small double-headed drum is usually made of metal (a snare drum without the snares can be used as a substitute for the repinique drum) and is tradi tionally played with one stick in hand wh ile the oth er hand plays ghost notes to accompany the main rhythm. The examples shown below are played with two sticks. Listen to the repiniq ue demonstration on track 7 and then play along with track 14.
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Triangle
Figure 1
Figure 2
The triangle is a metal bar that has been bent into a triangle with one open corner. They come in many different sizes. Larger triangles produce deeper tones, whi le smaller ones produce high-pitched tones. The technique for playing the instrument involves holding it with one hand, while the other (dominant) hand strikes it with a metal rod. There are several ways to hold a triangle ; it can be suspended from a string or wire, or held with the index finger (see figure 1). Cradling the tria.ngle between the index finger and the thumb is common ly used to play fast rhythms that require open or semi-open notes. Muted notes can be achieved by closing the hand, which will dampen or mute the tone (see figure 2). When played on a string or wire, the overtones sustain longer than when held with the index finger. Hold the triangle at approximately chest level and avoid moving the triangle up and down wh il e playing. Strike the instrument on the top or outside with the rod (see figures 1 and 2) . Listen to the triangle demonstration on track 7 and then play along with track 14.
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Snare Drum
The snare drum is descended from military drum s and is still associated with march ing bands. It plays an important role in Brazilian music as well as other music styles . The drum is played in a horizontal position, supported by a stand or hanging at the player's side in a marching formation. Only the upper head is struck with a woode n stick. The bottom head has catgut or metal wires (snares) stretched across, producing a rattling sound (when the drum is struck) as th ey vibrate against th e head. Commonly, a lever on the side of the drum will loosen th e snares, eliminating the rattle. Special effects played by the snare drum include playing with the snare s off, using different type sticks, playing the edge or middle of the head, and playing the rim. The shells as well as the hoops are commonly made of metal or wood. Listen to the snare drum demonstration on track 10 and then play along with track 14.
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23
KiongYaw
Figure 1
Figure 2
Figure 3
Figure 4
The klong yaw (see figure 1) is a drum from Thailand. Their unique shape , long body, and low tones add an original character to the religious music of the Buddhist temples. Although they are traditionally pitched very low and originally made of wood with an animal skinhead, Remo klong yaw heads come with high-pitched basic tuning and a rope tension system that gives them a wide range of tones from bass end lows to crisp highs. This gives them an even more unique and cavernous sound. The Remo klong yaws are available in four sizes (8", 9.25 ", 11.25", and 13.25") with instrument heights ranging from 27 to 31 inches. There is a wide range of sounds that can be produced by the different hand positions on the drumhead. One is the bass tone, which is the lowest frequency sound that can be produced with the center of the drumhead. To get this sound, one's hand or fist (see figure 2) must strike the drum with an immediate bounce to prevent the sound from muffling. The middle tenor or open tone (see figure 3) can be achieved by playing with the fingers and palm towards the edge of the drum. The slap is a sharp defined sound, which can be played muted (see figure 4), open, or closed . Finger strokes (tabla techniques) are also sometimes used to embellish the primary rhythms. Listen to the 9.25" klong yaw demonstration on track 10 and then play along with track 14.
Q) Track 10 + +
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Olodum Breaks Listen to Break #1 on track 11 . The samba whistl e will cue the ensemble two bars before the break. Once you become famii ar with the break, try improvising within the spaces.
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G Track 13
It is important to memorize the breaks to be ready to play the chart.
25
Olodum Chart Now that you've learned the breaks, listen to the Olodum composition on track 14 (with drumset) and play along with the percussion instrument you've been working on. Then learn a different instrument and play along with the ensemble.
0>
When you are ready to play drumset with the composition, play along with track 15.
Track 14 with drum set Track 15 without drumset
\ Intro I
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" 27
CHAPTER 2: BAIAO The Baiao is one of many rhythmic styles from the Northeast region of Brazil. The rhythmic phrase is defined by the zabumba drum, which is similar to a bass drum or surdo drum. Before radio was introduced to Western civilization , the traditional folkloric Baiao was the music that accompanied an African circle dance. Louis Gonzaga (an accordionist) popularized the style in 1946 and was referred to as the "King of Baiao." The instrumentation of the Baiao style traditionally utilizes the accordion , triangle, and the zabumba, along with other small hand percussion instruments such as pandeiro, caxixi, ago-go bells, and snare drum. International success of the Baiao style came during the 1950s and influenced such artists as Stan Kenton, Percy Faith , Joe Henderson, and Chick Corea, just to name a few.
28
Rhythm Indexes The Rhythm Index is a breakdown of rhythms from the Baiao percussion score written in cut time (2/2). Cut time means there are two beats per measure, and the half note gets the beat (pulse). Listen to each four-bar example, then answer the rhythm played in the next four bars while tapping you r foot to the half-note pulse. The twenty-one examples will take you through the entire Rhythm Index and will help build your rhythmic vocabulary. Playing (locking in) with the shaker will help you to develop a strong time fee/.
G Track 16
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Djembe
Figure 1
Figure 2
Figure 3
The djembe originated in West Africa and is one of the oldest drums in existence. It's traditionally crafted of wood with a metal rim and tuning rods or rope. The sharp, bright sound and dynamic range of colors is played with bare hands on animal skin (goat, cow, antelope) or plastic, wh ich is stretched over one openin g. Drum head sizes vary from 9 to 18 inches in diameter. Tuning can be achieved by a tuning key on metal rods or by tightening the knots on the rope. The djembe can be used both as an accompanying instrument and as a solo instrument. There is a broad spectrum of sounds that can be produced by the different hand positions on the drumh ead . One is the bass tone, which is the lowest frequency sound that can be produced with the cente r of the drumhead. To get this sound, one's hand or fist (see figure 1) must strike the drum with an immediate bounce to prevent the sound from muffling. The middle tenor or open tone (see figure 2) can be achieved by playing with the fingers and palm towards the edge of the drum. The slap is a sharp defined sound, which can be played muted (see figure 3), open, or closed. Finger strokes are also sometimes used to embellish the prim ary rhythms. Listen to the 16" djembe demonstration on track 21 and then play along with track 31.
0> Track 21 +
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Snare Drum
The snare drum is descended from mil itary drums and is sti ll associated with marching bands. It plays an important role in Brazilian music as well as other music styles. The drum is played in a horizontal position , supported by a stand or hanging at the player's side in a marching formation. Only the upper head is struck with a wooden stick. The bottom head has catgut or metal wires (snares) stretched across, producing a rattling sound (when the drum is struck) as they vibrate against the head . Commonly, a lever on the side of the drum will loosen the snares, eliminating the rattle. Special effects played by the snare drum include playing with the snares off, using different type sticks, playing the edge or middle of the head, and playing the rim. The shells as well as the hoops are commonly made of metal or wood. Listen to the snare drum demonstration on track 22 and then play along with track 31.
G Track 22 >
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39
Pandeiro
Figure 3
Figure 2
Figure 1
Figure 4
Figure 5
The Pandeiro is a Brazilian instrument similar to the tambourine. It is a single-headed (calf-skin or plastic) frame drum with loosely arranged jingles around the sides of the instrument. They vary in size, but the most common sizes are 10" and 12" . The technique used to play the pandeiro requires practice and patience. It is held in one hand, which produces open (see ·figure 1) and muted (see figure 2) tones. The other hand strikes the top of the head with the thumb (see figure 3) , fingertips (see figure 4) , or heel (see figure 5) . This technique wi ll produce a stream of quavers, which has a distinct sound. Listen to the four-bar phrase pandeiro demonstration on track 23 and then play along with track 31.
G Track23 o
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Klon gYaw
Figure 1
Figure 2
Figure 3
Figure 4
The klong yaw (see figure 1) is a drum from Thailand. Their uniqu e shape , long body, and low tones add an original character to the religious music of the Buddhist temp les. Although they are traditionally pitched very low and originally made of wood with an an imal skinhead, Remo klong yaw heads come with high-pitched basic tuning and a rope tension system that gives them a wide range of tones from bass end lows to crisp highs. This gives them an even more unique and cavernous sound. Th e Remo klong yaws are available in four sizes (8", 9.25",11.25", and 13.25") with , instrument heights ranging from 27 to 31 inches. There is a wide range of sounds that can be produced by the different hand positions on the drumhead. One is the bass tone, which is the lowest frequency sound that can be produced with the center of the drumhead. To get this sound, one's hand or fist (see fi gure 2) must stri ke the drum with an immediate bounce to prevent the sound from muffling. The middle tenor or open tone (see figure 3) can be ach ieved by playing with the fingers and palm towards the edge of the drum. Th e slap is a sha rp defined sound, which can be played muted (see fi gure 4) , open, or closed. Finger strokes (tabla techniques) are also sometim es used to embellish the primary rhythm s. Listen to the 9.25" klong yaw demonstration on track 23 and then play along with track 31.
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41
Conga
Figure 3
Figure 2
Figure 1
Figure 4
Figure 5
The Conga drum, coming from African and Cuban influences, has played a major role in modern music. These drums of African origin, first used by religious groups, are now very common in Afro-Cuban , Latin , and Pop music. The traditional Cuban Conga was made out of ol ive barrels or steamed bent staves of wood glued together. The heads were made of calf or buffalo and tacked to the wood . The smallest of the congas is called the "quinto" (30" x 11 ") , the middle one is called "conga;' "seguidor," or "tres golpes" (30" x 11 3/4"), and the largest is called "tumbadora" or "salidor" (30" x 13"). Remo makes a "super tumba" (30" x 13") as well as the common sizes. Among the most popular of the hand drums, the conga has a rich history, and, due to their flexible tonal ranges and playability, they are widely used in drum circles. There is a broad range of sounds that can be produced by the different hand positions on the drumhead. One is the low tone, which is the lowest frequency sound that can be produced with the center of the drumhead. To get this sound, one's hand or palm must strike the drum with an immediate bounce to prevent the sound from muffling (see figure 1). The middle tenor or open tone can be achieved by playing with the fingers and palm towards the edge of the drum (see figure 2). The slap is a sharp defined sound, which can be played muted (see figure 3), open, or closed. The heel-toe technique-rocking between the palm (see figure 4) and the fingers (see figure 5)- consists of all muted strokes. Listen to the conga demonstration on track 24 and then play along with track 31.
Q) Track 24 +
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Triangle
Figure 1
Figure 2
The triangle is a metal bar that has been bent into a triangle with one open corner. They come in many different sizes. Larger triangles produce deeper tones, while smaller ones produce high-pitched tones. The technique for playing the instrument involves holding it with one hand, wh ile the other (dominant) hand strikes it with a metal rod. There are several ways to hold a triangle; it can be suspended from a string or wi re , or held with the index finger (see figure 1). Cradling the triangle between the index finger and the thumb is commonly used to play fast rhythms that require open or semi-open notes. Muted notes can be achieved by closing the hand, which will dampen or mute the tone (see figure 2). When played on a string or wire, the overtones sustain longer than when held with the index finger. Hold the triangle at approximately chest level and avoid moving the triangle up and down while playing. Strike the instrument on the top or outside with the rod (see figures 1 and 2). Listen to the triangle demonstration on track 24 and then play along with track 31.
0>
Track 24 +.----'1+
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49
CHAPTER 3: SAMBA The Samba rhythmic style is the most popular of the many Afro-Brazilian music and dance forms. The carnival celebrations in Rio de Janeiro gave the Samba worldwide recognition. The Samba groups are referred to as Escola de Samba. Each group chooses the theme for the decoration of the floats, costumes, dancers, marchers, music, and lyrics and is judged on different categories. These are big productions including organizers, choreographers, dancers, costume designers, drummers, singers, painte rs, sculptors, and musicians. Most Samba groups are quite large and can have up to 5000 members. The percussion section is called the "bate ria" (which means the percussion section or drumset) and can include anywhere from 300 to 500 percussionists. The influence of Brazilian music is heard in jazz as wel l as contemporary music. Some musicians and groups influenced by Brazilian music are Stan Getz, Charlie Byrd, Chick Corea, and Santana. Some of the traditional percussion instruments include different sized surdos, shakers, tamborims, ago-go bells , cuica, snare drums, repinique, pandeiro, cymbals, triangle, and caxixi. The Samba is felt in two and written in cut time (2/2) . The low-pitched percussion instruments (surdo) and bass play the accent on beat 2.
50
Rhythm Indexes The Rhythm Index is a breakdown of rhythms from the Samba percussion score written in cut time (2/2). Cut time means there are two beats per measure, and the half note gets th e beat (pulse). Listen to each four-bar example, then answer the rhythm played in the next four bars while tapping your foot to the half-note pu lse. The twenty-two examples will take you through the enti re Rhythm Index and wi ll help build your rhythmic vocabulary. Playing (locki ng in) with the shaker will he lp you to develop a strong time feel.
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57
Ojembe
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The djembe originated in West Africa and is one of the oldest drums in existence. It's traditionally crafted of wood with a metal rim and tuning rods or rope. The sharp, bright sound and dynamic range of colors is played with bare hands on animal skin (goat, cow, ante lope) or plastic, wh ich is stretched over one opening . Drum head sizes vary from 9 to 18 inches in diameter. Tuning can be achieved by a tu ning key on metal rods or by tightening the knots on the rope. The djembe can be used both as an accompanying instrument and as a solo instrument. There is a broad spectrum of sounds that can be produced by the different hand positions on the drumhead . One is the bass tone, which is th e lowest frequency sound that can be produced with the center of the drumhead. To get this sound, one's hand or fist (see figure 1) must strike the drum with an immediate bounce to prevent the sound from muffling . The middle tenor or open tone (see figure 2) can be achieved by playing with the fingers and palm towards the edge of the drum. The slap is a sharp defined sound , which can be played muted (see figu re 3) , open , or closed . Finger strokes are also sometimes used to embellish the primary rhythms. Listen to the 16" djembe demonstration on track 36 and then play along with track 46 .
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Repinique
The repinique is a Brazilian percussion instrument often used as a lead, cue, or solo instrument for the percussion section of the Samba. Th e small double-headed drum is usually made of metal (a snare drum without the snares can used as a substitute for the repinique drum) and is traditionally played with one stick in hand wh ile the other hand plays ghost notes to accompany the main rhythm. Th e examples shown below are played with two sticks. Listen to the repinique demonstration on track 37 and then play along with track 46.
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59
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The Pandeiro is a Brazilian instrument similar to the tambourine. It is a single-headed (calf-skin or plastic) frame drum with loosely arranged jingles around the sides of the instrument. They vary in size, but the most common sizes are 10" and 12". The technique used to play the pandeiro requires practice and patience. It is held in one hand, which produces open (see figure 1) and muted (see figure 2) tones. The other hand strikes the top of the head with the thumb (see figure 3) , fingertips (see figure 4) , or heel (see figure 5). This technique will produce a stream of quavers, which has a distinct sound . Listen to the four-bar phrase pandeiro demonstration on track 38 and then play along with track 46.
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69
Cymbals The following is a description of the various cymbals used throughout the book and recording of the CD.
Exotic Percussion Series
Cup Chime set
Cup Chime single
The Cup Chimes are a set of five cymbals varying in pitch and size. These cymbals feature an exotic, dominant center tone with lively, fl anging over and undertones. The sound character can be described as bright, warm , and brilliant with a soft, extremely responsive, shattering , glassy attack with modulating warm long fade.
Traditional Series
Medium Ughl Traditional Hi-Hats
Medium Heavy Traditional Ride
The Medium Light Traditi onal Hi -Hats consist of thin top and heavy bottom cymbals. Th e sound character can be described as dark, warm, and silvery with a soft, responsive feel. The Medium Heavy Traditional Ride sound character can be described as medium dark, ful l, and warm with a clear stick sound. This instrument produces a lively, medium sustain with a fairly strong woody ping, which can be played soft to medium loud vol umes.
Signature Series The Fast Crash is extremely responsive and fades fast with beautiful , dark shimmer. The sound character can be described as full , bright, silvery, and warm with a washy stick sound and short sustain.
Signature Fast Crash
70
Dimensions The Thin Splash is a responsive, explosive, quick fading splash with a washy stick sound. This instrument produces a slig htly dark, warm, airy sound also suited for hand playing.
Dimensions Thin Splash
Sound Creation Gongs Each Sound Creation Gong has its own extraordinary and particular sound character. They offer various sounds, colors , and a wide range of harmonics and frequencies, from diffused crash-like timbres to defined and steady belllike tones.
Sound Creation Gong
71
Conclusion In closing we would like to encourage you to focus on rhythmic awareness, time-feel, and self-expression through the language of the drum. Good luck and keep groovin'.
Maria Martinez
Ed Roscetti
You can correspond with Maria and Ed and find out about their other Publications , CD's, videos, workshops, and clinics by visiting their website at www.worldbeatrhythms.com
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