7.12.09
Stand up for music & education in Bahia
Recently came across a nice list of the organizations that use music to reach youth in Bahia -- a great place to volunteer if you'd like to do so there.
3.12.09
Brazooka at Cafe Wha? on Mondays
Anybody out in blogland been to Cafe Wha? in NYC's Village on a Monday night? Brazooka has been their Monday mainstay -- playing all styles of Brazilian music. I had the pleasure of meeting that band's Robinho Cerqueira (guitar/bandolim/vocals) and he says he's held down the gig for two decades, ever since arriving from his native Bahia. Nice guy -- please say hello next time you're in the neighborhood on a Monday night!
More info here.
More info here.
25.11.09
12.11.09
Cape Town to copy Rio's Carnaval
Wow, hope they can make a caipirinha! And how do you kick-start the social miracle of the samba school? Anyway, South Africa has plenty of musical and dancing talent, so no worries there...
Here's the story.
Here's the story.
1.10.09
For the bird(watcher)s
Sure, we're mostly about music and other forms of Brazilian culture around here. But I have met one guy who's a fervent birdwatcher. So if you're a Brazilophile who mostly thinks Brazil is for the birds, this one's for you: a downloadable booklet on birdwatching in Brazil.
28.9.09
New Yorker on Rio favela gangsters
This is just a few paragraphs -- you'll have to read the whole long piece in the magazine if you're interested...
26.9.09
22.9.09
Pandeiro Resource:
This site contains a variety of key pandeiro patterns as well as video and audio demos. A great place to learn once you already have some basic technique down -- a teacher is recommended for that!
'É do Pandeiro' site
'É do Pandeiro' site
Mãe Hilda of Ile Aiye passes away
14.9.09
O Nosso Amor (Tom Jobim-Vinicius de Moraes) Roberto Menescal e Cris Delanno
A lovely way to start (or end) the day with a little samba from Black Orpheus...
13.9.09
Percussionist Ramiro Musotto lost to cancer at 45
Ramiro was, among other things, famed for his berimbau mastery. Full story:
http://worldmusiccentral.org/article.php/Percussionist_Ramiro_Musotto_Dies_Brazil
http://worldmusiccentral.org/article.php/Percussionist_Ramiro_Musotto_Dies_Brazil
9.9.09
Rio Carnaval with Jorge Alabe
Forwarded email from Deborah Cogan (dlcogan@earthlink.net):
I'm forwarding the information about Jorge Alabe's Samba
Tour to Rio for January 2010. Please get in touch with me or with Jorge if you are interested in joining the trip--there is still room for more people to participate, and now is the time to make plans. For people who would like to make their own flight
itinerary, we can also offer a price for the trip with airfare not included.
General information is below, and feel free to get in touch with any
questions.
I hope to get a chance to see some of you before another year goes by, maybe
in Brazil!
Best,
Deborah
+++++++++++++++++++++++
Samba Tour in Rio de Janeiro
with Jorge Alabe
January 2010
Visit Rio¹s famous samba schools and enjoy the culture of one of the world¹s
most beautiful cities with master Brazilian percussionist Jorge Alabe!
(min. 5 people, max. 10 people in group)
Depart U.S. Jan. 13, arrive in Rio Jan. 14
Depart Rio Jan. 23, arrive in U.S. Jan. 24
Included in trip price:
* Round-trip economy-class airfare from the U.S. to Rio de Janeiro, Brazil
* Shared rooms in apartment in Copacabana (4 to 5 people in each apartment),
walking distance from the beach
* Transportation from the airport on arrival on 1/13, and return to airport
on 1/23
* Transportation to five samba school rehearsals and other scheduled
activities
* Visit to a candomble house
All for $2400
($1300 due by Oct. 1; remainder due by Dec. 15.)
(Not included: Passport and visa fees; additional transportation costs;
entry fees to samba schools; meals other than specified on the schedule;
drum and dance classes; other activities.)
For more information or to join the tour, contact Deborah at 510-601-7244,
dlcogan@earthlink.net; or Jorge Alabe at 510-393-6400, jorgealabe@yahoo.com.
++++++++++++++++++++++++++++++++
Preliminary tour schedule (subject to change):
Arrive Thursday: Settle into apartment; walk around Copacabana to get
oriented. Eat out a great Brazilian churrascaria restaurant with group
(dinner cost not included in trip)
Friday: Free during day. Visit to samba school at night: Portela.
Saturday: Visit to local pagode club in evening or samba school rehearsal.
Sunday: Technical rehearsal at sambadrome‹two samba schools. Leave around
3:00 p.m.; return in evening.
Monday: Free day/evening.
Tues.: Free day. Visit to samba school at night: Viradouro
Wed.: Tour of Artcelsior drum factory, and opportunity to buy drums. Visit
to samba school at night: Mocidade
Thurs.: Free day. Visit to samba school at night: Salgueiro.
Friday: Visit to candomble house during day. Free evening.
Saturday: Departure day.
Group or private dance or drum classes available for additional fees by
arrangement. (For group class of 4 or more people, $20/hour per person for
drum or dance class.)
Possible group activities on free days (not included in trip):
Visit to island of Paquetá
Visit to Cidade do Samba (exhibits of float construction and costumes)
Visit to Sugarloaf (Pão de Açucar)
Tijuca Forest and Corcovado
Shopping downtown: Rua da Alfandega, Rua de Carioca
Lapa nightclubs
I'm forwarding the information about Jorge Alabe's Samba
Tour to Rio for January 2010. Please get in touch with me or with Jorge if you are interested in joining the trip--there is still room for more people to participate, and now is the time to make plans. For people who would like to make their own flight
itinerary, we can also offer a price for the trip with airfare not included.
General information is below, and feel free to get in touch with any
questions.
I hope to get a chance to see some of you before another year goes by, maybe
in Brazil!
Best,
Deborah
+++++++++++++++++++++++
Samba Tour in Rio de Janeiro
with Jorge Alabe
January 2010
Visit Rio¹s famous samba schools and enjoy the culture of one of the world¹s
most beautiful cities with master Brazilian percussionist Jorge Alabe!
(min. 5 people, max. 10 people in group)
Depart U.S. Jan. 13, arrive in Rio Jan. 14
Depart Rio Jan. 23, arrive in U.S. Jan. 24
Included in trip price:
* Round-trip economy-class airfare from the U.S. to Rio de Janeiro, Brazil
* Shared rooms in apartment in Copacabana (4 to 5 people in each apartment),
walking distance from the beach
* Transportation from the airport on arrival on 1/13, and return to airport
on 1/23
* Transportation to five samba school rehearsals and other scheduled
activities
* Visit to a candomble house
All for $2400
($1300 due by Oct. 1; remainder due by Dec. 15.)
(Not included: Passport and visa fees; additional transportation costs;
entry fees to samba schools; meals other than specified on the schedule;
drum and dance classes; other activities.)
For more information or to join the tour, contact Deborah at 510-601-7244,
dlcogan@earthlink.net; or Jorge Alabe at 510-393-6400, jorgealabe@yahoo.com.
++++++++++++++++++++++++++++++++
Preliminary tour schedule (subject to change):
Arrive Thursday: Settle into apartment; walk around Copacabana to get
oriented. Eat out a great Brazilian churrascaria restaurant with group
(dinner cost not included in trip)
Friday: Free during day. Visit to samba school at night: Portela.
Saturday: Visit to local pagode club in evening or samba school rehearsal.
Sunday: Technical rehearsal at sambadrome‹two samba schools. Leave around
3:00 p.m.; return in evening.
Monday: Free day/evening.
Tues.: Free day. Visit to samba school at night: Viradouro
Wed.: Tour of Artcelsior drum factory, and opportunity to buy drums. Visit
to samba school at night: Mocidade
Thurs.: Free day. Visit to samba school at night: Salgueiro.
Friday: Visit to candomble house during day. Free evening.
Saturday: Departure day.
Group or private dance or drum classes available for additional fees by
arrangement. (For group class of 4 or more people, $20/hour per person for
drum or dance class.)
Possible group activities on free days (not included in trip):
Visit to island of Paquetá
Visit to Cidade do Samba (exhibits of float construction and costumes)
Visit to Sugarloaf (Pão de Açucar)
Tijuca Forest and Corcovado
Shopping downtown: Rua da Alfandega, Rua de Carioca
Lapa nightclubs
7.9.09
California Brazil Camp 2008 photo book out now
All the music, dance, and general merriment that is California Brazil Camp is fresh in the minds of all of us lucky enough to attend. My book on the 2008 camp is now available (here) and 2009 is coming out soon...
20.8.09
Dori's Inner World
Dori Caymmi's career just hit the half century mark. In recent years, the singer/songwriter/guitarist/arranger has looked back at his roots (2004's Grammy-nominated Influências) and announced -- at least in private conversation with this writer -- his retirement. Not one to let expectations stand in his way, Dori's back with a rich new recording that breaks new ground and expands his songbook.
Dori's sound is jazz -- specifically in the "smooth jazz" vein-- to American ears, more "erudite" in harmony and development than his father's irresistable Bahian sambas and ballads. Dori's guitar-playing, a skill he says he learned from Joao Gilberto, is ever at the center of his work, but the sound is filled out by such musical cohorts as percussionist Paulinho da Costa and sax/flute players Gary Meek and Scott Mayo.
Collaboration enriches Inner World, something evident to anyone who's caught his performances a few years back with Joyce and Gal Costa. Fortified by trading verses with as well as duetting with Scott Mayo, Bill Cantos, Renato Braz, and Edu Lobo, Dori echoes his father's rich presence while sounding nimbler and more energized than he has in at least a decade. And fearlessly, he jumps for the first time into English songwriting and performing thanks to compositional collaborations with lyricists Ina Wolf and Tracy Mann. Collaborative compositions with legendary lyricists Paulo Cesar Pinheiro and Chico Buarque, including the lovely Danca do Tucano, round out the set.
Another standout track isthe sinuous and rhapsodic Colors of Joy, with evocations of rainbows, sunsets, and racial harmony that would not have seemed out of place decades ago when Dori decided to try his luck in the United States jazz scene. Quebra-Mar is a gorgeous duet that echoes the searing yearing of his father's finest ballads of the Bahian fishermen, and this track in particular belies the flaccid marketing cliche on CDBaby, where the album is sold: a "soothing breeze from Brazil". No, Dori's more deeply felt, evocative, and engaging than that.
Look to Dori to tour the West and East coasts of the US behind this album soon.
Dori's sound is jazz -- specifically in the "smooth jazz" vein-- to American ears, more "erudite" in harmony and development than his father's irresistable Bahian sambas and ballads. Dori's guitar-playing, a skill he says he learned from Joao Gilberto, is ever at the center of his work, but the sound is filled out by such musical cohorts as percussionist Paulinho da Costa and sax/flute players Gary Meek and Scott Mayo.
Collaboration enriches Inner World, something evident to anyone who's caught his performances a few years back with Joyce and Gal Costa. Fortified by trading verses with as well as duetting with Scott Mayo, Bill Cantos, Renato Braz, and Edu Lobo, Dori echoes his father's rich presence while sounding nimbler and more energized than he has in at least a decade. And fearlessly, he jumps for the first time into English songwriting and performing thanks to compositional collaborations with lyricists Ina Wolf and Tracy Mann. Collaborative compositions with legendary lyricists Paulo Cesar Pinheiro and Chico Buarque, including the lovely Danca do Tucano, round out the set.
Another standout track isthe sinuous and rhapsodic Colors of Joy, with evocations of rainbows, sunsets, and racial harmony that would not have seemed out of place decades ago when Dori decided to try his luck in the United States jazz scene. Quebra-Mar is a gorgeous duet that echoes the searing yearing of his father's finest ballads of the Bahian fishermen, and this track in particular belies the flaccid marketing cliche on CDBaby, where the album is sold: a "soothing breeze from Brazil". No, Dori's more deeply felt, evocative, and engaging than that.
Look to Dori to tour the West and East coasts of the US behind this album soon.
Otto hits New York
Calling Otto a "backlands" version of Moby is actually a pretty good characterization of the guy behind "Bob". At least they can't trot out bossa nova cliches this time. But perhaps the NYT is going too far in the other direction with this quote from author Ricardo Pessanha: "He’s the hillbilly who clears pathways and unlocks closed doors, chopping his way through the jungle and opening frontiers so that others can follow.”
" Actually, Otto mixes up a mean stew of electronica and anything else he's interested in. The rest of the article covers this well enough. If it's your first exposure to Otto, I suggest starting out with the early "Samba pra Burro" that established his reputation in Brazil.
Here's the article.
" Actually, Otto mixes up a mean stew of electronica and anything else he's interested in. The rest of the article covers this well enough. If it's your first exposure to Otto, I suggest starting out with the early "Samba pra Burro" that established his reputation in Brazil.
Here's the article.
12.8.09
7.8.09
Mutantes in Yosemite? Sounds memorable!
Picked up from Facebook from the apparently official Mutantes folks:
"Faremos show em Yosemite, no Symbiosis Gathering, entre 17 e 21 de setembro: 5 days of art, music and conscious living. Lindo o lugar!"
This is confirmed on the Symbiosis Gathering website.
"Faremos show em Yosemite, no Symbiosis Gathering, entre 17 e 21 de setembro: 5 days of art, music and conscious living. Lindo o lugar!"
This is confirmed on the Symbiosis Gathering website.
27.7.09
LA samba bateria forming (update)
Forwarded email:
World-famous drummer Carlinhos Pandeiro de Ouro is teaching percussion downtown this summer.
The bateria is taking great shape and we're expanding classes to 3 nights a week! Wednesdays, Thursdays, Saturdays at 8:30PM through Sept 5, with a big performance planned for September 5. It's all free. We hope to recruit the best players around LA to make a fantastic batucada. This is a great opportunity to meet new sambistas from around town and sharpen your playing. Please forward this email to all Brazilian percussionists and dancers you know. (For dancers, there's a great dance studio to rehearse in, with full length mirrors and a sprung floor.) Wednesdays, Thursdays, Saturdays 8:30PMRoybal Learning Center1200 W Colton StreetLos Angeles, CA 90026 Bring a drum, and come have fun. It's part of LA's Summer Night Lights program. It's downtown, where the 101 meets the 110. Closest large intersection is W Temple and N Beaudry. There's street parking on Colton, and the entrance is on Colton. We rehearse in the dance studio next to the gym (people
can direct you). Please let me know if you have any questions. Rog-- pearubu@yahoo.com
World-famous drummer Carlinhos Pandeiro de Ouro is teaching percussion downtown this summer.
The bateria is taking great shape and we're expanding classes to 3 nights a week! Wednesdays, Thursdays, Saturdays at 8:30PM through Sept 5, with a big performance planned for September 5. It's all free. We hope to recruit the best players around LA to make a fantastic batucada. This is a great opportunity to meet new sambistas from around town and sharpen your playing. Please forward this email to all Brazilian percussionists and dancers you know. (For dancers, there's a great dance studio to rehearse in, with full length mirrors and a sprung floor.) Wednesdays, Thursdays, Saturdays 8:30PMRoybal Learning Center1200 W Colton StreetLos Angeles, CA 90026 Bring a drum, and come have fun. It's part of LA's Summer Night Lights program. It's downtown, where the 101 meets the 110. Closest large intersection is W Temple and N Beaudry. There's street parking on Colton, and the entrance is on Colton. We rehearse in the dance studio next to the gym (people
can direct you). Please let me know if you have any questions. Rog-- pearubu@yahoo.com
23.7.09
New facebook group for new yorkers
Looking for a centralized place to learn more about Brazilian events in NYC? Here are 2:
On twitter, have a look at
www.twitter.com/nybrazilgig
A new page on facebook:
http://www.facebook.com/pages/BrazilNYC/23917795811
On twitter, have a look at
www.twitter.com/nybrazilgig
A new page on facebook:
http://www.facebook.com/pages/BrazilNYC/23917795811
21.7.09
Free samba batucada classes in LA
From the mailbag! Forwarded message:
Please forward this email to all Brazilian percussionists and dancers you know. (For dancers, there's a great dance studio to rehearse in, with full length mirrors and a sprung floor.)
Wednesdays 7:30PM
Roybal Learning Center
1200 W Colton Street
Los Angeles, CA 90026
Bring a drum, and come have fun.
It's downtown, where the 101 meets the 110. Closest large intersection is W Temple and N Beaudry. There's street parking on Colton, and the entrance is on Colton. We rehearse in the dance studio next to the gym (people can direct you).
Please let me know if you have any questions.
Rog
pearubu@yahoo.com
Please forward this email to all Brazilian percussionists and dancers you know. (For dancers, there's a great dance studio to rehearse in, with full length mirrors and a sprung floor.)
Wednesdays 7:30PM
Roybal Learning Center
1200 W Colton Street
Los Angeles, CA 90026
Bring a drum, and come have fun.
It's downtown, where the 101 meets the 110. Closest large intersection is W Temple and N Beaudry. There's street parking on Colton, and the entrance is on Colton. We rehearse in the dance studio next to the gym (people can direct you).
Please let me know if you have any questions.
Rog
pearubu@yahoo.com
18.7.09
common rhythmic patterns for Brazilian and latin music
The mystery of Brazilian rhythms is really in the subtle "swing" of the players. But the basic rhythmic patterns can be understood easily enough by anyone. Here are some common ones are collected in an easily read format:
UK Samba claves page
And to these I would add baiao:
UK Samba claves page
And to these I would add baiao:
1 + 2 + 3 + 4 +
X . . X . . . .
17.6.09
new blog on SF Brazilian Jazz
You may know Masha Campagne as a San Francisco-based singer; here's her new blog on jazz, including Brazilian jazz, in the Bay Area.
1.6.09
Muqueca de Siri -- solid samba podcast
Anyone hooked up with a web browser can now partake of fine samba via the Muqueca de Siri podcast. Listen directly from the page below, or use a link to hook up your iTunes:
Muqueca de Siri
Muqueca de Siri
11.5.09
Attempt at defining samba variants
Samba-rumba? Well, I've never heard of that one! The Brazilian blog Arquivo do Samba Rock took a shot at laying out the whole samba family. Here's the Portuguese version:
Below I have the Portuguese phrases followed by Google's attempts at English:
The samba and its variations
O samba e suas variações The samba and its variations
Samba carnavalesco : designação genérica dada aos sambas criados e lançados exclusivamente para o carnaval. Samba Carnival: generic name given to sambas created and released exclusively for the carnival. Os compositores tinham uma certa queda por este "gênero" (neste incluem-se as marchinhas) por visarem os gordos prêmios oferecido pela Prefeitura em seus concursos anuais de músicas carnavalescas. The composers had a thing for this "gender" (these include marchinhas) by the target fatty prizes offered by City in their annual music carnival competitions.
Samba de meio-de-ano : qualquer samba despretensioso aos festejos carnavalescos. Samba half-of-year: a modest samba to celebrate carnival.
Samba raiado: uma das primeiras designações recebidas pelo samba. Samba striped: a description of the first received by samba. Segundo João da Baiana 1, o samba raiado era o mesmo que chula raiada ou samba de partido-alto. According to John Baiana 1, the striped samba was the same as or chula raiada samba-party-high. Para o sambista Caninha, este foi o primeiro nome teria ouvido em casa de tia Dadá. For Snowbunny Caninha, this was the first name would have heard at home of aunt Dadá.
Samba de partido-alto: um dos primeiros estilos de samba de que se tem notícia. Samba-party-top: one of the first styles of samba that has news. Surgiu no início do século XX, mesclando formas antigas (o partido-alto baiano) a outras mais modernas (como o samba-dança-batuques). Emerged at the beginning of the twentieth century, merging ancient forms (the most high-Bahia) to more modern (such as samba-dance-Batuque). Era dançado e cantado. It was danced and sung. Caracterizava-se pela improvisação dos versos em relação a um tema e pela riqueza rítmica e melódica. It is characterized by improvisation of verses on a theme and the rhythmic and melodic richness. Cultivado apenas pelos sambistas de "alto gabarito" (daí a expressão partido-alto), foi retomado na década de 40 pelos moradores dos morros cariocas, já não mais ligado às danças de roda. Grown only by Sambistas of "high quality" (hence the term party-high) was taken in the 40s by the residents of Rio hills, no longer connected to the dances of wheel.
Samba-batido: variante coreográfica do samba existente na Bahia. Samba-hit: choreographic variant of the existing samba in Bahia.
Samba de morro: tradicionalmente conhecido como o samba autenticamente popular surgido no bairro do Estácio e que teve na Mangueira, um dos seus redutos mais importantes a partir da década de 30. Samba de morro: traditionally known as the samba truly emerged in the popular neighborhood of Estácio and had the hose, one of its most important stronghold from the 30s.
Samba de terreiro: composição de meio de ano não incluída nos desfiles carnavalescos. Samba de terreiro: composition of mid-year not included in the Carnival parades. É cantado fora do período dos ensaios de samba-enredo, servindo para animar as festas de quadra, durante as reuniões dos sambistas, festas de aniversário ou confraternizações. It is sung outside the period of testing the samba-plot, serves to encourage the parties to court, at meetings of Sambistas, birthday party or confraternizações.
Samba-canção: estilo nascido na década de 30, tendo por característica um ritmo lento, cadenciado, influenciado mais tarde pela música estrangeira. Samba-song: style born in the 30s, and by a characteristic slow, rhythmic, later influenced by foreign music. Foi lançado por Aracy Cortes em 1928 com a gravação Ai, Ioiô de Henrique Vogeler. Aracy was launched by Cortes in 1928 with the recording Oh, yo-yo of Henry Vogel. Foi o gênero da classe média por excelência ea temática de suas letras era quase sempre romântica, quando não assumindo um tom queixoso. It was the kind of middle class and the subject par excellence of its letters almost always romantic, if not taking a tone complainant. A partir de 1950, teve grande influência do bolero e de outros ritmos estrangeiros. Starting in 1950, had a great influence of the bolero rhythms and other foreigners.
Samba-enredo: estilo criado pelos compositores das escolas de samba cariocas em 1930, tendo como fonte inspiradora um fato histórico, literário ou biográfico, amarrados por uma narrativa. Samba-plot: style created by composers of the samba schools of Rio in 1930, taking as a fact source inspiring historical, literary or biographical, tethered by a narrative. É o tema do samba-enredo que dá o tom do desfile em suas cores, alegorias, adereços e evoluções, pois este é o assunto que será desenvolvido pela escola durante a sua evolução na avenida. It is the theme of the samba-plot that gives the tone of the parade in their colors, floats, props and developments, as this is the issue that will be developed by the school during its development in the road.
Samba-choro: variante do samba surgida em 1930 que utiliza o fraseado instrumental do choro. Choro-samba: samba variant emerged in 1930 that uses the phrasing of the instrumental choro. Entre as primeiras composições no estilo, figuram Amor em excesso (Gadé e Walfrido Silva/1932) e Amor de parceria (Noel Rosa/1935). Among the first compositions in the style include Love in excess (Gade and Walfrido Silva/1932) and Love of partnership (Noel Rosa/1935).
Samba carnavalesco: designação genérica dada aos sambas criados e lançados exclusivamente para o carnaval. Samba Carnival: generic name given to sambas created and released exclusively for the carnival.
Samba de breque: variante do samba-choro, caracterizado por um ritmo acentuadamente sincopado com paradas bruscas chamadas breques (do inglês "break"), designação popular para os freios de automóveis. Samba de breque: variant of the samba-choro, characterized by a sharply syncopate pace with sudden stops called breque (from English "break"), popular name for the car brakes. Essa paradas servem para o cantor encaixar as frases apenas faladas, conferindo graça e malandragem na narrativa. This stops the singer used to fit the phrases just spoken, with grace and cunning in the narrative. Luiz Barbosa foi o primeiro a trabalhar este tipo de samba que conheceu em Moreira da Silva o seu expoente máximo. Luiz Barbosa was the first to work this type of samba that Moreira da Silva met in its highest expression.
Samba-exaltação: samba de melodia longa e letra abordando um tema patriótico. Samba-exaltation: samba melody of addressing a long letter and patriotic theme. Desenvolveu-se a partir de 1930, durante o governo de Getúlio Vargas. Was developed from 1930, during the government of Getúlio Vargas. Foi cultivado por profissionais do teatro musicado, do rádio e do disco depois do sucesso de Aquarela do Brasil (1939) de Ary Barroso. Was grown by professionals in the musical theater, radio and the disc after the success of Aquarela do Brasil (1939) of Ary Barroso. A ênfase musical recai sobre o arranjo orquestral que deve conter elementos grandiloqüentes, conferindo força e vigor ao nacionalismo que se quer demonstrar. The musical emphasis falls on the orchestral arrangements must contain elements that rotund, giving strength and vigor to the nationalism that prove either.
Samba de gafieira: modalidade que se caracteriza por um ritmo sincopado, geralmente apenas tocado e tendo nos metais (trombones, saxofones e trompetes) a força de apoio para o arranjo instrumental da orquestra. Samba de gaff: mode which is characterized by a rate syncope, usually only played in and with metals (trombones, saxophones and trumpets) the strength of support for the instrumental arrangement of the orchestra. Criado na década de 40, o estilo, influenciado pelas "big-bands" americanas, serve sobretudo para se dançar. Created in the 40s, style, influenced by "big bands" American, serves mainly to dance.
Sambalada: estilo de ritmo lento, surgido nas décadas de 40 e 50, similar ao das músicas estrangeiras lançadas na época (como o bolero ea balada, por exemplo) tido como um produto da manipulação das grandes gravadoras que tinham apenas finalidade comercial. Sambalada: style of slow, emerged in the decades of 40 and 50, similar to the foreign songs released in time (such as the bolero and ballad, for example) taken as a product of manipulation of the major record labels that had only commercial purpose.
Sambalanço: modalidade que se caracteriza pelo deslocamento da acentuação rítmica, inventado na metade da década de 50, por músicos influenciados por orquestras de bailes e boates do Rio e de São Paulo que tinham como base os gêneros musicais norte-americanos, principalmente o jazz. Sambalanço: mode which is characterized by the displacement of rhythmic accentuation, invented in the mid-50, for musicians influenced by orchestras and dance clubs of Rio and São Paulo they had based on the American musical genres, especially jazz. Pode ainda ser definido como o estilo intermediário entre o samba tradicional ea bossa-nova, do qual Jorge Ben (Jor) foi o grande expoente. Can be defined as a style intermediate between the traditional samba and bossa-nova, of which Jorge Ben (Jor) was the great exponent.
Sambolero: tipo de samba-canção comercial fortemente influenciado pelo bolero, que teve o seu apogeu também na década de 50. Sambolero: samba-song kind of trade heavily influenced by bolero, which also had its heyday in the 50s. Imposto pelas grandes companhias de disco. Tax by large companies to drive.
Samba-jazz: gênero comandado por Carlos Lyra e Nelson Luiz Barros e mais tarde cultivado por outros compositores ligados à Bossa-Nova que buscavam soluções estéticas mais populares como resposta ao caráter demasiadamente intimista de João Gilberto. Samba-jazz: gender controlled by Carlos Lyra and Nelson Luiz Barros and later cultivated by other composers related to Bossa Nova-seeking aesthetic solutions to the most popular response as too intimate character of João Gilberto. Abriu espaço para o nascimento da MPB, através dos festivais de música promovidos pela TV Record de São Paulo, durante os anos 60. Paved for the birth of Brazilian music through the music festivals promoted by TV Record of São Paulo, during the 60s.
Sambão: considerado extremamente popular e comercial, o gênero conheceu seu momento de glória a partir dos anos 70, quando se pregava a volta do autêntico samba tradicional. Sambão: considered extremely popular and commercial, gender had its moment of glory from the 70s, when he preached the return of authentic traditional samba. Nada mais é do que uma apropriação muitas vezes indevida e descaracterizada do conhecido samba do morro. Nothing more than one ownership is often inappropriate and weakened the known samba of the hill.
Samba de moderno partido: modalidade contemporânea do gênero liderada pelo compositor Martinho da Vila, que mantém a vivacidade da percussão tradicional do samba aliada a uma veia irônica na temática de suas letras. Samba de modern party: contemporary form of the genre led by composer Martinho da Vila, which maintains the vibrancy of the traditional samba percussion combined with an ironic vein in the theme of their lyrics.
Samba de embolada: modalidade de samba entoado de improviso. Samba de embolism: Beating the form of impromptu samba. Segundo Câmara Cascudo, citado no Dicionário Musical Brasileiro de Mário de Andrade, os melhores sambas de embolada estão em tonalidades menores. According Cascudo Board, quoted in Dicionário Musical Brasileiro de Mário de Andrade, the best sambas of embolism are in lower tones.
Samba-rumba: tipo de samba influenciado pela rumba, ritmo caribenho em voga no Brasil na década de 50. Rumba, samba: samba influenced by the type of rumba, Caribbean rhythm in vogue in Brazil in the 50s.
Samba-reggae : misturado aos ritmos da Bahia, com forte influência da divisão rítmica do reggae. Samba-reggae: the mixed rhythms of Bahia, with strong influence of the division rhythm of reggae.
Below I have the Portuguese phrases followed by Google's attempts at English:
The samba and its variations
O samba e suas variações The samba and its variations
Samba carnavalesco : designação genérica dada aos sambas criados e lançados exclusivamente para o carnaval. Samba Carnival: generic name given to sambas created and released exclusively for the carnival. Os compositores tinham uma certa queda por este "gênero" (neste incluem-se as marchinhas) por visarem os gordos prêmios oferecido pela Prefeitura em seus concursos anuais de músicas carnavalescas. The composers had a thing for this "gender" (these include marchinhas) by the target fatty prizes offered by City in their annual music carnival competitions.
Samba de meio-de-ano : qualquer samba despretensioso aos festejos carnavalescos. Samba half-of-year: a modest samba to celebrate carnival.
Samba raiado: uma das primeiras designações recebidas pelo samba. Samba striped: a description of the first received by samba. Segundo João da Baiana 1, o samba raiado era o mesmo que chula raiada ou samba de partido-alto. According to John Baiana 1, the striped samba was the same as or chula raiada samba-party-high. Para o sambista Caninha, este foi o primeiro nome teria ouvido em casa de tia Dadá. For Snowbunny Caninha, this was the first name would have heard at home of aunt Dadá.
Samba de partido-alto: um dos primeiros estilos de samba de que se tem notícia. Samba-party-top: one of the first styles of samba that has news. Surgiu no início do século XX, mesclando formas antigas (o partido-alto baiano) a outras mais modernas (como o samba-dança-batuques). Emerged at the beginning of the twentieth century, merging ancient forms (the most high-Bahia) to more modern (such as samba-dance-Batuque). Era dançado e cantado. It was danced and sung. Caracterizava-se pela improvisação dos versos em relação a um tema e pela riqueza rítmica e melódica. It is characterized by improvisation of verses on a theme and the rhythmic and melodic richness. Cultivado apenas pelos sambistas de "alto gabarito" (daí a expressão partido-alto), foi retomado na década de 40 pelos moradores dos morros cariocas, já não mais ligado às danças de roda. Grown only by Sambistas of "high quality" (hence the term party-high) was taken in the 40s by the residents of Rio hills, no longer connected to the dances of wheel.
Samba-batido: variante coreográfica do samba existente na Bahia. Samba-hit: choreographic variant of the existing samba in Bahia.
Samba de morro: tradicionalmente conhecido como o samba autenticamente popular surgido no bairro do Estácio e que teve na Mangueira, um dos seus redutos mais importantes a partir da década de 30. Samba de morro: traditionally known as the samba truly emerged in the popular neighborhood of Estácio and had the hose, one of its most important stronghold from the 30s.
Samba de terreiro: composição de meio de ano não incluída nos desfiles carnavalescos. Samba de terreiro: composition of mid-year not included in the Carnival parades. É cantado fora do período dos ensaios de samba-enredo, servindo para animar as festas de quadra, durante as reuniões dos sambistas, festas de aniversário ou confraternizações. It is sung outside the period of testing the samba-plot, serves to encourage the parties to court, at meetings of Sambistas, birthday party or confraternizações.
Samba-canção: estilo nascido na década de 30, tendo por característica um ritmo lento, cadenciado, influenciado mais tarde pela música estrangeira. Samba-song: style born in the 30s, and by a characteristic slow, rhythmic, later influenced by foreign music. Foi lançado por Aracy Cortes em 1928 com a gravação Ai, Ioiô de Henrique Vogeler. Aracy was launched by Cortes in 1928 with the recording Oh, yo-yo of Henry Vogel. Foi o gênero da classe média por excelência ea temática de suas letras era quase sempre romântica, quando não assumindo um tom queixoso. It was the kind of middle class and the subject par excellence of its letters almost always romantic, if not taking a tone complainant. A partir de 1950, teve grande influência do bolero e de outros ritmos estrangeiros. Starting in 1950, had a great influence of the bolero rhythms and other foreigners.
Samba-enredo: estilo criado pelos compositores das escolas de samba cariocas em 1930, tendo como fonte inspiradora um fato histórico, literário ou biográfico, amarrados por uma narrativa. Samba-plot: style created by composers of the samba schools of Rio in 1930, taking as a fact source inspiring historical, literary or biographical, tethered by a narrative. É o tema do samba-enredo que dá o tom do desfile em suas cores, alegorias, adereços e evoluções, pois este é o assunto que será desenvolvido pela escola durante a sua evolução na avenida. It is the theme of the samba-plot that gives the tone of the parade in their colors, floats, props and developments, as this is the issue that will be developed by the school during its development in the road.
Samba-choro: variante do samba surgida em 1930 que utiliza o fraseado instrumental do choro. Choro-samba: samba variant emerged in 1930 that uses the phrasing of the instrumental choro. Entre as primeiras composições no estilo, figuram Amor em excesso (Gadé e Walfrido Silva/1932) e Amor de parceria (Noel Rosa/1935). Among the first compositions in the style include Love in excess (Gade and Walfrido Silva/1932) and Love of partnership (Noel Rosa/1935).
Samba carnavalesco: designação genérica dada aos sambas criados e lançados exclusivamente para o carnaval. Samba Carnival: generic name given to sambas created and released exclusively for the carnival.
Samba de breque: variante do samba-choro, caracterizado por um ritmo acentuadamente sincopado com paradas bruscas chamadas breques (do inglês "break"), designação popular para os freios de automóveis. Samba de breque: variant of the samba-choro, characterized by a sharply syncopate pace with sudden stops called breque (from English "break"), popular name for the car brakes. Essa paradas servem para o cantor encaixar as frases apenas faladas, conferindo graça e malandragem na narrativa. This stops the singer used to fit the phrases just spoken, with grace and cunning in the narrative. Luiz Barbosa foi o primeiro a trabalhar este tipo de samba que conheceu em Moreira da Silva o seu expoente máximo. Luiz Barbosa was the first to work this type of samba that Moreira da Silva met in its highest expression.
Samba-exaltação: samba de melodia longa e letra abordando um tema patriótico. Samba-exaltation: samba melody of addressing a long letter and patriotic theme. Desenvolveu-se a partir de 1930, durante o governo de Getúlio Vargas. Was developed from 1930, during the government of Getúlio Vargas. Foi cultivado por profissionais do teatro musicado, do rádio e do disco depois do sucesso de Aquarela do Brasil (1939) de Ary Barroso. Was grown by professionals in the musical theater, radio and the disc after the success of Aquarela do Brasil (1939) of Ary Barroso. A ênfase musical recai sobre o arranjo orquestral que deve conter elementos grandiloqüentes, conferindo força e vigor ao nacionalismo que se quer demonstrar. The musical emphasis falls on the orchestral arrangements must contain elements that rotund, giving strength and vigor to the nationalism that prove either.
Samba de gafieira: modalidade que se caracteriza por um ritmo sincopado, geralmente apenas tocado e tendo nos metais (trombones, saxofones e trompetes) a força de apoio para o arranjo instrumental da orquestra. Samba de gaff: mode which is characterized by a rate syncope, usually only played in and with metals (trombones, saxophones and trumpets) the strength of support for the instrumental arrangement of the orchestra. Criado na década de 40, o estilo, influenciado pelas "big-bands" americanas, serve sobretudo para se dançar. Created in the 40s, style, influenced by "big bands" American, serves mainly to dance.
Sambalada: estilo de ritmo lento, surgido nas décadas de 40 e 50, similar ao das músicas estrangeiras lançadas na época (como o bolero ea balada, por exemplo) tido como um produto da manipulação das grandes gravadoras que tinham apenas finalidade comercial. Sambalada: style of slow, emerged in the decades of 40 and 50, similar to the foreign songs released in time (such as the bolero and ballad, for example) taken as a product of manipulation of the major record labels that had only commercial purpose.
Sambalanço: modalidade que se caracteriza pelo deslocamento da acentuação rítmica, inventado na metade da década de 50, por músicos influenciados por orquestras de bailes e boates do Rio e de São Paulo que tinham como base os gêneros musicais norte-americanos, principalmente o jazz. Sambalanço: mode which is characterized by the displacement of rhythmic accentuation, invented in the mid-50, for musicians influenced by orchestras and dance clubs of Rio and São Paulo they had based on the American musical genres, especially jazz. Pode ainda ser definido como o estilo intermediário entre o samba tradicional ea bossa-nova, do qual Jorge Ben (Jor) foi o grande expoente. Can be defined as a style intermediate between the traditional samba and bossa-nova, of which Jorge Ben (Jor) was the great exponent.
Sambolero: tipo de samba-canção comercial fortemente influenciado pelo bolero, que teve o seu apogeu também na década de 50. Sambolero: samba-song kind of trade heavily influenced by bolero, which also had its heyday in the 50s. Imposto pelas grandes companhias de disco. Tax by large companies to drive.
Samba-jazz: gênero comandado por Carlos Lyra e Nelson Luiz Barros e mais tarde cultivado por outros compositores ligados à Bossa-Nova que buscavam soluções estéticas mais populares como resposta ao caráter demasiadamente intimista de João Gilberto. Samba-jazz: gender controlled by Carlos Lyra and Nelson Luiz Barros and later cultivated by other composers related to Bossa Nova-seeking aesthetic solutions to the most popular response as too intimate character of João Gilberto. Abriu espaço para o nascimento da MPB, através dos festivais de música promovidos pela TV Record de São Paulo, durante os anos 60. Paved for the birth of Brazilian music through the music festivals promoted by TV Record of São Paulo, during the 60s.
Sambão: considerado extremamente popular e comercial, o gênero conheceu seu momento de glória a partir dos anos 70, quando se pregava a volta do autêntico samba tradicional. Sambão: considered extremely popular and commercial, gender had its moment of glory from the 70s, when he preached the return of authentic traditional samba. Nada mais é do que uma apropriação muitas vezes indevida e descaracterizada do conhecido samba do morro. Nothing more than one ownership is often inappropriate and weakened the known samba of the hill.
Samba de moderno partido: modalidade contemporânea do gênero liderada pelo compositor Martinho da Vila, que mantém a vivacidade da percussão tradicional do samba aliada a uma veia irônica na temática de suas letras. Samba de modern party: contemporary form of the genre led by composer Martinho da Vila, which maintains the vibrancy of the traditional samba percussion combined with an ironic vein in the theme of their lyrics.
Samba de embolada: modalidade de samba entoado de improviso. Samba de embolism: Beating the form of impromptu samba. Segundo Câmara Cascudo, citado no Dicionário Musical Brasileiro de Mário de Andrade, os melhores sambas de embolada estão em tonalidades menores. According Cascudo Board, quoted in Dicionário Musical Brasileiro de Mário de Andrade, the best sambas of embolism are in lower tones.
Samba-rumba: tipo de samba influenciado pela rumba, ritmo caribenho em voga no Brasil na década de 50. Rumba, samba: samba influenced by the type of rumba, Caribbean rhythm in vogue in Brazil in the 50s.
Samba-reggae : misturado aos ritmos da Bahia, com forte influência da divisão rítmica do reggae. Samba-reggae: the mixed rhythms of Bahia, with strong influence of the division rhythm of reggae.
23.4.09
Happy Birthday, Pixinguinha!
Born in 1897, this choro and samba pioneer would be 112 if alive today! One way to celebrate is to check out this puppy: http://loronix.blogspot.com/2008/04/pixinguinha-70-1968.html
21.4.09
brazilnyc.com
General site about Brazilian stuff in NY provides a vid blog that's another resource for us gringos working on the fala portugues thang. This blog produces weekly vids alternately in Port. and English.
brazilnyc.com
brazilnyc.com
16.4.09
samba-reggae fundraiser in San Francisco this Saturday
Fogo Na Roupa Carnaval Fundraiser
Saturday, April 18th 10:30PM
Pena Pachamama
1630 Powell St. c/s Union in SF
$10-15 Donation Sliding Scale
$7 Fogo Members
*All Ages Welcome
*Live Bateria and Dancers
*Dj Miraa spinning the lastest samba, salsa, merengue, reggeaton, and
more!!!!
Saturday, April 18th 10:30PM
Pena Pachamama
1630 Powell St. c/s Union in SF
$10-15 Donation Sliding Scale
$7 Fogo Members
*All Ages Welcome
*Live Bateria and Dancers
*Dj Miraa spinning the lastest samba, salsa, merengue, reggeaton, and
more!!!!
28.2.09
Fala!
So maybe you've been to Brazil and learned a little Portuguese, or you took that class last summer... but have you been practicing? If you want to get on well next time in Rio, this podcast -- 'brazilianpodclass' -- is just for you!
24.2.09
Rio Carnaval video 2009
Find video from the big party in Rio here.
Replays of last two night the Rio carnaval parade are available in the archive section. Recording time is PST-- check out around 4PM.
Replays of last two night the Rio carnaval parade are available in the archive section. Recording time is PST-- check out around 4PM.
18.2.09
Blog recommendation
Here's one of the more enjoyable blog efforts I've seen on things brazilophilic.
I especially appreciated the link author Patrica Ribeiro provided for this video.
And this explanation of the term Ziriguidum.
I especially appreciated the link author Patrica Ribeiro provided for this video.
And this explanation of the term Ziriguidum.
6.2.09
Cavaquinho chords
While we're in the DIY mode for Brazilian music, here's a collection of cavaco chords I put together a few years ago. Please let me know if you can improve/add to this list. Following the chords are some notes on how to use these.
---------------------------
cavaquinho chords
tuning: dgbd
MAJOR
"C" shape "A" shape "E" shape
----------------------------------------
C 2 0 1 2 5 5 5 5 10 9 8 10
C# 3 1 2 3 6 6 6 6 11 10 9 11
D 4 2 3 4 7 7 7 7 12 11 10 12
D# 5 3 4 5 8 8 8 8 13 12 11 13
E 6 4 5 6 9 9 9 9 2 1 0 2
F 7 5 6 7 10 10 10 10 3 2 1 3
F# 8 6 7 8 11 11 11 11 4 3 2 4
G 9 7 8 9 0 0 0 0 5 4 3 5
G# 10 8 9 10 1 1 1 1 6 5 4 6
A 11 9 10 11 2 2 2 2 7 6 5 7
A# 12 10 11 12 3 3 3 3 8 7 6 8
B 12111213 4 4 4 4 9 8 7 9
MINOR
"Cm" shape "Am" shape "Em" shape
----------------------------------
Cm 1 0 1 1 5 5 4 5 10 8 810
C#m 2 1 2 2 6 6 5 6 11 9 911
Dm 3 2 3 3 7 7 6 7 12101012
D#m 4 3 4 4 8 8 7 8 13111113
Em 5 4 5 5 9 9 8 9 2 0 0 2
Fm 6 5 6 6 1010 910 3 1 1 3
F#m 7 6 7 7 11111011 4 2 2 4
Gm 8 7 8 8 12121112 5 3 3 5
G#m 9 8 9 9 1 1 0 1 6 4 4 6
Am 10 91010 2 2 1 2 7 5 5 7
A#m 11101111 3 3 2 3 8 6 6 8
Bm 12111212 4 4 3 4 9 7 7 9
6th
"F6" shape "A6" shape "D6" shape
--------------------------------------
C6 10 9 8 7 5 5 5 7 14 91110
C#6 1110 9 8 6 6 6 8 15101211
D6 121110 9 7 7 7 9 4 2 0 0
D#6 13121110 8 8 810 5 3 1 1
E6 14131211 9 9 911 6 4 2 2
F6 3 2 1 0 10101012 7 5 3 3
F#6 4 3 2 1 11111113 8 5 4 4
G6 5 4 3 2 0 0 0 2 9 4 6 5
G#6 6 5 4 3 1 1 1 3 10 5 7 6
A6 7 6 5 4 2 2 2 4 11 6 8 7
A#6 8 7 6 5 3 3 3 5 12 7 9 8
B6 9 8 7 6 4 4 4 6 13 810 9
7th
"F7" shape "A7" shape "E7" shape "C7" shape "G7" shape "C#7" shape
------------------------------------------------------------------------
C7 8 9 810 5 3 5 5 10 91110 2 3 1 2 8 5 5 8 14121114
C#7 910 911 6 4 6 6 11101211 3 4 2 3 9 6 6 9 3 1 0 3
D7 10111012 7 5 7 7 12111312 4 5 3 4 10 7 710 4 2 1 4
D#7 11121113 8 6 8 8 1 0 2 1 5 6 4 5 11 8 811 5 3 2 5
E7 0 1 0 2 9 7 9 9 2 1 3 2 6 7 5 6 12 9 912 6 4 3 6
F7 1 2 1 3 10 81010 3 2 4 3 7 8 6 7 13101013 7 5 4 7
F#7 2 3 2 4 11 91111 4 3 5 4 8 9 7 8 14111114 8 6 5 8
G7 3 4 3 5 12101212 5 4 6 5 910 8 9 3 0 0 3 9 7 6 9
G#7 4 5 4 6 13111313 6 5 7 6 1011 910 4 1 1 4 10 8 710
A7 5 6 5 7 2 0 2 2 7 6 8 7 11121011 5 2 2 5 11 9 811
A#7 6 7 6 8 3 1 3 3 8 7 9 8 12131112 6 3 3 6 1210 912
B7 7 8 7 9 4 2 4 4 9 810 9 1 2 0 1 7 4 4 7 13111013
Major 7th
"G7M" shape "A7M" shape "E7M" shape "C7M" shape "D7M" shape
-------------------------------------------------------------------
C7M 5 5 5 9 5 4 5 5 10 9 8 9 2 0 0 2 10121214
C#7M 6 6 610 6 5 6 6 1110 910 3 1 1 3 11131315
D7M 7 7 711 7 6 7 7 12111011 4 2 2 4 0 2 2 4
D#7M 8 8 812 8 7 8 8 13121112 5 3 3 5 1 3 3 5
E7M 9 9 913 9 8 9 9 2 1 0 1 6 4 4 6 2 4 4 6
F7M 10101014 10 91010 3 2 1 2 7 5 5 7 3 5 5 7
F#7M 11111115 11101111 4 3 2 3 8 6 6 8 4 6 6 8
G7M 0 0 0 4 12111212 5 4 3 4 9 7 7 9 5 7 7 9
G#7M 1 1 1 5 1 0 1 1 6 5 4 5 10 8 810 6 8 810
A7M 2 2 2 6 2 1 2 2 7 6 5 6 11 9 911 7 9 911
A#7M 3 3 3 7 3 2 3 3 8 7 6 7 12101012 8101012
B7M 4 4 4 8 4 3 4 4 9 8 7 8 13111113 9111113
minor 6th
"Fm6" shape "Dm6" shape "D#m6" shape
----------------------------------------
Cm6 7 8 810 10121013 13121010
C#m6 8 9 911 11131114 14131111
Dm6 9101012 0 2 0 3 3 2 0 0
D#m6 10111113 1 3 1 4 4 3 1 1
Em6 11121214 2 4 2 5 5 4 2 2
Fm6 0 1 1 3 3 5 3 6 6 5 3 3
F#m6 1 2 2 4 4 6 4 7 7 6 4 4
Gm6 2 3 3 5 5 7 5 8 8 7 5 5
G#m6 3 4 4 6 6 8 6 9 9 8 6 6
Am6 4 5 5 7 7 9 710 10 9 7 7
A#m6 5 6 6 8 810 811 1110 8 8
Bm6 6 7 7 9 911 912 1211 9 9
minor 7th
"Fm7" shape "Am7" shape "Em7" shape "Cm7" shape
----------------------------------------------------
Cm7 10 8 810 5 3 4 5 10 8 8 8 1 0 1 1
C#m7 11 9 911 6 4 5 6 11 9 9 9 2 1 2 2
Dm7 12101012 7 5 6 7 12101010 10 8 8 3
D#m7 13111113 8 6 7 8 13111111 10 8 8 4
Em7 2 0 0 2 9 7 8 9 2 0 0 0 10 8 8 5
Fm7 3 1 1 3 10 8 910 3 1 1 1 10 8 8 6
F#m7 4 2 2 4 11 91011 4 2 2 2 10 8 8 7
Gm7 5 3 3 5 12101112 5 3 3 3 10 8 8 8
G#m7 6 4 4 6 13111213 6 4 4 4 10 8 8 9
Am7 7 5 5 7 2 0 1 2 7 5 5 5 10 91010
A#m7 8 6 6 8 3 1 2 3 8 6 6 6 11101111
Bm7 9 7 7 9 4 2 3 4 9 7 7 7 12111212
sus 2nd
"Asus2"shape
---------------
Csus2 5 5 3 5
C#sus2 6 6 4 6
Dsus2 7 7 5 7
D#sus2 8 8 6 8
Esus2 9 9 7 9
Fsus2 1010 810
F#sus2 1111 911
Gsus2 12121012
G#sus2 13131113
Asus2 2 2 0 2
A#sus2 3 3 1 3
Bsus2 4 4 2 4
sus 4th
"Fsus4" "Gsus4" shape shape
------------------------
Csus4 810 810 5 5 6 5
C#sus4 911 911 6 6 7 6
Dsus4 10121012 7 7 8 7
D#sus4 11131113 8 8 9 8
Esus4 0 2 0 2 9 910 9
Fsus4 1 3 1 3 10101110
F#sus4 2 4 2 4 11111211
Gsus4 3 5 3 5 0 0 1 0
G#sus4 4 6 4 6 1 1 2 1
Asus4 5 7 5 7 2 2 3 2
A#sus4 6 8 6 8 3 3 4 3
Bsus4 7 9 7 9 4 4 5 4
diminished
"Fº" shape "Dº" shape "Dº" shape #2 "C#º" shape "Bº" shape
---------------------------------------------------------------------
Cº 10 8 7 7 10111013 13111010 4 5 4 7 1 2 1 4
C#º 11 9 8 8 11121114 14121111 5 6 5 8 2 3 2 5
Dº 1210 9 9 0 1 0 3 3 1 0 0 6 7 6 9 3 4 3 6
D#º 13111010 1 2 1 4 4 2 1 1 7 8 710 4 5 4 7
Eº 14121111 2 3 2 5 5 3 2 2 8 9 811 5 6 5 8
Fº 3 1 0 0 3 4 3 6 6 4 3 3 910 912 6 7 6 9
F#º 4 2 1 1 4 5 4 7 7 5 4 4 10111013 7 8 710
Gº 5 3 2 2 5 6 5 8 8 6 5 5 11121114 8 9 811
G#º 6 4 3 3 6 7 6 9 9 7 6 6 0 1 0 5 910 912
Aº 7 5 4 4 7 8 710 10 8 7 7 1 2 1 4 10111013
A#º 8 6 5 5 8 9 811 11 9 8 8 2 3 2 5 11121114
Bº 9 7 6 6 910 912 1210 9 9 3 4 3 6 0 1 0 3
augmented
"F aug" shape "G aug" shape "E aug" shape
----------------------------------------------
C aug 2 1 1 2 6 5 5 6 10 9 910
C# aug 3 2 2 3 7 6 6 7 11101011
D aug 4 3 3 4 8 7 7 8 12111112
D# aug 5 4 4 5 9 8 8 9 1 0 0 1
E aug 6 5 5 6 10 9 910 2 1 1 2
F aug 7 6 6 7 11101011 3 2 2 3
F# aug 8 7 7 8 12111112 4 3 3 4
G aug 9 8 8 9 1 0 0 1 5 4 4 5
G# aug 10 9 910 2 1 1 2 6 5 5 6
A aug 11101011 3 2 2 3 7 6 6 7
A# aug 12111112 4 3 3 4 8 7 7 8
B aug 1 0 0 1 5 4 4 5 9 8 8 9
Add 9
"E9" shape "A#9" shape "C9" shape "B9" shape
--------------------------------------------------
C9 10 91112 2 3 3 5 2 0 1 0 4 4 2 1
C#9 11101213 3 4 4 6 3 1 2 1 5 5 3 2
D9 12111314 4 5 5 7 4 2 3 2 6 6 4 3
D#9 1 0 2 3 5 6 6 8 5 3 4 3 7 7 5 4
E9 2 1 3 4 6 7 7 9 6 4 5 4 8 8 6 5
F9 3 2 4 5 7 8 810 7 5 6 5 9 9 7 6
F#9 4 3 5 6 8 9 911 8 6 7 6 1010 8 7
G9 5 4 6 7 9101012 9 7 8 7 1111 9 8
G#9 6 5 7 8 10111113 10 8 9 8 121210 9
A9 7 6 8 9 11121214 11 910 9 1313 310
A#9 8 7 910 0 1 1 3 12101110 1414 311
B9 9 81011 1 2 2 4 13111211 3 3 1 0
Add flat 9
"E(-9)"
---------
C(-9) 10 9 811
C#(-9) 1110 912
D(-9) 12111013
D#(-9) 13121114
E(-9) 2 1 0 3
F(-9) 3 2 1 4
F#(-9) 4 3 2 5
G(-9) 5 4 3 6
G#(-9) 6 5 4 7
A(-9) 7 6 5 8
A#(-9) 8 7 6 9
B(-9) 9 8 710
minor add 9
"Cm9" shape "Em9" shape "Bm9" shape
--------------------------------------
Cm9 1 0 1 0 10 8 812 1 5 3 5
C#m9 2 1 2 1 11 9 913 2 6 4 6
Dm9 3 2 3 2 12101014 3 7 5 7
D#m9 4 3 4 3 13111115 4 8 6 8
Em9 5 4 5 4 2 0 0 4 5 9 7 9
Fm9 6 5 6 5 3 1 1 5 610 810
F#m9 7 6 7 6 4 2 2 6 711 911
Gm9 8 7 8 7 5 3 3 7 8121012
G#m9 9 8 9 8 6 4 4 8 9131113
Am9 10 910 9 7 5 5 9 10141214
A#m9 11101110 8 6 610 11151315
Bm9 12111211 9 7 711 0 4 2 4
---------------------------------------
how does this work?
1. First, let's get in tune. Use a chromatic tuner or some other means to tune your 1st and 4th cavaquinho strings to 'd', your second string to b, and your third string to 'g'. Thus, your tuning resembles the first 4 strings of a guitar except that the highest string is a d instead of an 'e'. (But a higher octave, of course!)
2. Next, undersand that this page shows chords in groups: major, minor, and so on. Each row down is a half-step higher, and each column is a different shape. The same shape is used to create different chords by moving your fingers up or down the neck. It's up to you to figure out which shape is easy to play and sounds right in the context you are using it.
3. Also understand that the notation shows frets to be pressed from the 4th string (lowest tone) to 1st string (highest tone). Example major C chords are illustrated below:
MAJOR
"C" shape "A" shape "E" shape
----------------------------------
C 2 0 1 2 5 5 5 5 10 9 810
C Major inC Shape:
-------
O O 1 O first fret
2 O O 3
O O O O third fret
O O O O
C Major inA Shape:
-------
O O O O first fret
O O O O
O O O O third fret
O O O O
1 1 1 1 fifth fret
O O O O
C Major inE Shape:
-------
O O O O first fret
O O O O
O O O O third fret
O O O O
O O O O fifth fret
O O O O
O O O O seventh fret
O O 1 O
O 2 O O ninth fret
3 O O 4
O O O O eleventh fret
Note that in these
pictograms (but not in the previous chord listings), a O indicates that
the fret is not played, while a
1 indicates the index finger,
2 indicates the middle finger,
3 indicates the ring finger,
4 indicates the pinky.
4. Remember that, for any given fingering,
more than one name may apply to the chord.
For example, Cm6 is equivalent to F7(9) -- or so I am told!
Consult any book on harmonic theory to learn more.
---------------------------
cavaquinho chords
tuning: dgbd
MAJOR
"C" shape "A" shape "E" shape
----------------------------------------
C 2 0 1 2 5 5 5 5 10 9 8 10
C# 3 1 2 3 6 6 6 6 11 10 9 11
D 4 2 3 4 7 7 7 7 12 11 10 12
D# 5 3 4 5 8 8 8 8 13 12 11 13
E 6 4 5 6 9 9 9 9 2 1 0 2
F 7 5 6 7 10 10 10 10 3 2 1 3
F# 8 6 7 8 11 11 11 11 4 3 2 4
G 9 7 8 9 0 0 0 0 5 4 3 5
G# 10 8 9 10 1 1 1 1 6 5 4 6
A 11 9 10 11 2 2 2 2 7 6 5 7
A# 12 10 11 12 3 3 3 3 8 7 6 8
B 12111213 4 4 4 4 9 8 7 9
MINOR
"Cm" shape "Am" shape "Em" shape
----------------------------------
Cm 1 0 1 1 5 5 4 5 10 8 810
C#m 2 1 2 2 6 6 5 6 11 9 911
Dm 3 2 3 3 7 7 6 7 12101012
D#m 4 3 4 4 8 8 7 8 13111113
Em 5 4 5 5 9 9 8 9 2 0 0 2
Fm 6 5 6 6 1010 910 3 1 1 3
F#m 7 6 7 7 11111011 4 2 2 4
Gm 8 7 8 8 12121112 5 3 3 5
G#m 9 8 9 9 1 1 0 1 6 4 4 6
Am 10 91010 2 2 1 2 7 5 5 7
A#m 11101111 3 3 2 3 8 6 6 8
Bm 12111212 4 4 3 4 9 7 7 9
6th
"F6" shape "A6" shape "D6" shape
--------------------------------------
C6 10 9 8 7 5 5 5 7 14 91110
C#6 1110 9 8 6 6 6 8 15101211
D6 121110 9 7 7 7 9 4 2 0 0
D#6 13121110 8 8 810 5 3 1 1
E6 14131211 9 9 911 6 4 2 2
F6 3 2 1 0 10101012 7 5 3 3
F#6 4 3 2 1 11111113 8 5 4 4
G6 5 4 3 2 0 0 0 2 9 4 6 5
G#6 6 5 4 3 1 1 1 3 10 5 7 6
A6 7 6 5 4 2 2 2 4 11 6 8 7
A#6 8 7 6 5 3 3 3 5 12 7 9 8
B6 9 8 7 6 4 4 4 6 13 810 9
7th
"F7" shape "A7" shape "E7" shape "C7" shape "G7" shape "C#7" shape
------------------------------------------------------------------------
C7 8 9 810 5 3 5 5 10 91110 2 3 1 2 8 5 5 8 14121114
C#7 910 911 6 4 6 6 11101211 3 4 2 3 9 6 6 9 3 1 0 3
D7 10111012 7 5 7 7 12111312 4 5 3 4 10 7 710 4 2 1 4
D#7 11121113 8 6 8 8 1 0 2 1 5 6 4 5 11 8 811 5 3 2 5
E7 0 1 0 2 9 7 9 9 2 1 3 2 6 7 5 6 12 9 912 6 4 3 6
F7 1 2 1 3 10 81010 3 2 4 3 7 8 6 7 13101013 7 5 4 7
F#7 2 3 2 4 11 91111 4 3 5 4 8 9 7 8 14111114 8 6 5 8
G7 3 4 3 5 12101212 5 4 6 5 910 8 9 3 0 0 3 9 7 6 9
G#7 4 5 4 6 13111313 6 5 7 6 1011 910 4 1 1 4 10 8 710
A7 5 6 5 7 2 0 2 2 7 6 8 7 11121011 5 2 2 5 11 9 811
A#7 6 7 6 8 3 1 3 3 8 7 9 8 12131112 6 3 3 6 1210 912
B7 7 8 7 9 4 2 4 4 9 810 9 1 2 0 1 7 4 4 7 13111013
Major 7th
"G7M" shape "A7M" shape "E7M" shape "C7M" shape "D7M" shape
-------------------------------------------------------------------
C7M 5 5 5 9 5 4 5 5 10 9 8 9 2 0 0 2 10121214
C#7M 6 6 610 6 5 6 6 1110 910 3 1 1 3 11131315
D7M 7 7 711 7 6 7 7 12111011 4 2 2 4 0 2 2 4
D#7M 8 8 812 8 7 8 8 13121112 5 3 3 5 1 3 3 5
E7M 9 9 913 9 8 9 9 2 1 0 1 6 4 4 6 2 4 4 6
F7M 10101014 10 91010 3 2 1 2 7 5 5 7 3 5 5 7
F#7M 11111115 11101111 4 3 2 3 8 6 6 8 4 6 6 8
G7M 0 0 0 4 12111212 5 4 3 4 9 7 7 9 5 7 7 9
G#7M 1 1 1 5 1 0 1 1 6 5 4 5 10 8 810 6 8 810
A7M 2 2 2 6 2 1 2 2 7 6 5 6 11 9 911 7 9 911
A#7M 3 3 3 7 3 2 3 3 8 7 6 7 12101012 8101012
B7M 4 4 4 8 4 3 4 4 9 8 7 8 13111113 9111113
minor 6th
"Fm6" shape "Dm6" shape "D#m6" shape
----------------------------------------
Cm6 7 8 810 10121013 13121010
C#m6 8 9 911 11131114 14131111
Dm6 9101012 0 2 0 3 3 2 0 0
D#m6 10111113 1 3 1 4 4 3 1 1
Em6 11121214 2 4 2 5 5 4 2 2
Fm6 0 1 1 3 3 5 3 6 6 5 3 3
F#m6 1 2 2 4 4 6 4 7 7 6 4 4
Gm6 2 3 3 5 5 7 5 8 8 7 5 5
G#m6 3 4 4 6 6 8 6 9 9 8 6 6
Am6 4 5 5 7 7 9 710 10 9 7 7
A#m6 5 6 6 8 810 811 1110 8 8
Bm6 6 7 7 9 911 912 1211 9 9
minor 7th
"Fm7" shape "Am7" shape "Em7" shape "Cm7" shape
----------------------------------------------------
Cm7 10 8 810 5 3 4 5 10 8 8 8 1 0 1 1
C#m7 11 9 911 6 4 5 6 11 9 9 9 2 1 2 2
Dm7 12101012 7 5 6 7 12101010 10 8 8 3
D#m7 13111113 8 6 7 8 13111111 10 8 8 4
Em7 2 0 0 2 9 7 8 9 2 0 0 0 10 8 8 5
Fm7 3 1 1 3 10 8 910 3 1 1 1 10 8 8 6
F#m7 4 2 2 4 11 91011 4 2 2 2 10 8 8 7
Gm7 5 3 3 5 12101112 5 3 3 3 10 8 8 8
G#m7 6 4 4 6 13111213 6 4 4 4 10 8 8 9
Am7 7 5 5 7 2 0 1 2 7 5 5 5 10 91010
A#m7 8 6 6 8 3 1 2 3 8 6 6 6 11101111
Bm7 9 7 7 9 4 2 3 4 9 7 7 7 12111212
sus 2nd
"Asus2"shape
---------------
Csus2 5 5 3 5
C#sus2 6 6 4 6
Dsus2 7 7 5 7
D#sus2 8 8 6 8
Esus2 9 9 7 9
Fsus2 1010 810
F#sus2 1111 911
Gsus2 12121012
G#sus2 13131113
Asus2 2 2 0 2
A#sus2 3 3 1 3
Bsus2 4 4 2 4
sus 4th
"Fsus4" "Gsus4" shape shape
------------------------
Csus4 810 810 5 5 6 5
C#sus4 911 911 6 6 7 6
Dsus4 10121012 7 7 8 7
D#sus4 11131113 8 8 9 8
Esus4 0 2 0 2 9 910 9
Fsus4 1 3 1 3 10101110
F#sus4 2 4 2 4 11111211
Gsus4 3 5 3 5 0 0 1 0
G#sus4 4 6 4 6 1 1 2 1
Asus4 5 7 5 7 2 2 3 2
A#sus4 6 8 6 8 3 3 4 3
Bsus4 7 9 7 9 4 4 5 4
diminished
"Fº" shape "Dº" shape "Dº" shape #2 "C#º" shape "Bº" shape
---------------------------------------------------------------------
Cº 10 8 7 7 10111013 13111010 4 5 4 7 1 2 1 4
C#º 11 9 8 8 11121114 14121111 5 6 5 8 2 3 2 5
Dº 1210 9 9 0 1 0 3 3 1 0 0 6 7 6 9 3 4 3 6
D#º 13111010 1 2 1 4 4 2 1 1 7 8 710 4 5 4 7
Eº 14121111 2 3 2 5 5 3 2 2 8 9 811 5 6 5 8
Fº 3 1 0 0 3 4 3 6 6 4 3 3 910 912 6 7 6 9
F#º 4 2 1 1 4 5 4 7 7 5 4 4 10111013 7 8 710
Gº 5 3 2 2 5 6 5 8 8 6 5 5 11121114 8 9 811
G#º 6 4 3 3 6 7 6 9 9 7 6 6 0 1 0 5 910 912
Aº 7 5 4 4 7 8 710 10 8 7 7 1 2 1 4 10111013
A#º 8 6 5 5 8 9 811 11 9 8 8 2 3 2 5 11121114
Bº 9 7 6 6 910 912 1210 9 9 3 4 3 6 0 1 0 3
augmented
"F aug" shape "G aug" shape "E aug" shape
----------------------------------------------
C aug 2 1 1 2 6 5 5 6 10 9 910
C# aug 3 2 2 3 7 6 6 7 11101011
D aug 4 3 3 4 8 7 7 8 12111112
D# aug 5 4 4 5 9 8 8 9 1 0 0 1
E aug 6 5 5 6 10 9 910 2 1 1 2
F aug 7 6 6 7 11101011 3 2 2 3
F# aug 8 7 7 8 12111112 4 3 3 4
G aug 9 8 8 9 1 0 0 1 5 4 4 5
G# aug 10 9 910 2 1 1 2 6 5 5 6
A aug 11101011 3 2 2 3 7 6 6 7
A# aug 12111112 4 3 3 4 8 7 7 8
B aug 1 0 0 1 5 4 4 5 9 8 8 9
Add 9
"E9" shape "A#9" shape "C9" shape "B9" shape
--------------------------------------------------
C9 10 91112 2 3 3 5 2 0 1 0 4 4 2 1
C#9 11101213 3 4 4 6 3 1 2 1 5 5 3 2
D9 12111314 4 5 5 7 4 2 3 2 6 6 4 3
D#9 1 0 2 3 5 6 6 8 5 3 4 3 7 7 5 4
E9 2 1 3 4 6 7 7 9 6 4 5 4 8 8 6 5
F9 3 2 4 5 7 8 810 7 5 6 5 9 9 7 6
F#9 4 3 5 6 8 9 911 8 6 7 6 1010 8 7
G9 5 4 6 7 9101012 9 7 8 7 1111 9 8
G#9 6 5 7 8 10111113 10 8 9 8 121210 9
A9 7 6 8 9 11121214 11 910 9 1313 310
A#9 8 7 910 0 1 1 3 12101110 1414 311
B9 9 81011 1 2 2 4 13111211 3 3 1 0
Add flat 9
"E(-9)"
---------
C(-9) 10 9 811
C#(-9) 1110 912
D(-9) 12111013
D#(-9) 13121114
E(-9) 2 1 0 3
F(-9) 3 2 1 4
F#(-9) 4 3 2 5
G(-9) 5 4 3 6
G#(-9) 6 5 4 7
A(-9) 7 6 5 8
A#(-9) 8 7 6 9
B(-9) 9 8 710
minor add 9
"Cm9" shape "Em9" shape "Bm9" shape
--------------------------------------
Cm9 1 0 1 0 10 8 812 1 5 3 5
C#m9 2 1 2 1 11 9 913 2 6 4 6
Dm9 3 2 3 2 12101014 3 7 5 7
D#m9 4 3 4 3 13111115 4 8 6 8
Em9 5 4 5 4 2 0 0 4 5 9 7 9
Fm9 6 5 6 5 3 1 1 5 610 810
F#m9 7 6 7 6 4 2 2 6 711 911
Gm9 8 7 8 7 5 3 3 7 8121012
G#m9 9 8 9 8 6 4 4 8 9131113
Am9 10 910 9 7 5 5 9 10141214
A#m9 11101110 8 6 610 11151315
Bm9 12111211 9 7 711 0 4 2 4
---------------------------------------
how does this work?
1. First, let's get in tune. Use a chromatic tuner or some other means to tune your 1st and 4th cavaquinho strings to 'd', your second string to b, and your third string to 'g'. Thus, your tuning resembles the first 4 strings of a guitar except that the highest string is a d instead of an 'e'. (But a higher octave, of course!)
2. Next, undersand that this page shows chords in groups: major, minor, and so on. Each row down is a half-step higher, and each column is a different shape. The same shape is used to create different chords by moving your fingers up or down the neck. It's up to you to figure out which shape is easy to play and sounds right in the context you are using it.
3. Also understand that the notation shows frets to be pressed from the 4th string (lowest tone) to 1st string (highest tone). Example major C chords are illustrated below:
MAJOR
"C" shape "A" shape "E" shape
----------------------------------
C 2 0 1 2 5 5 5 5 10 9 810
C Major inC Shape:
-------
O O 1 O first fret
2 O O 3
O O O O third fret
O O O O
C Major inA Shape:
-------
O O O O first fret
O O O O
O O O O third fret
O O O O
1 1 1 1 fifth fret
O O O O
C Major inE Shape:
-------
O O O O first fret
O O O O
O O O O third fret
O O O O
O O O O fifth fret
O O O O
O O O O seventh fret
O O 1 O
O 2 O O ninth fret
3 O O 4
O O O O eleventh fret
Note that in these
pictograms (but not in the previous chord listings), a O indicates that
the fret is not played, while a
1 indicates the index finger,
2 indicates the middle finger,
3 indicates the ring finger,
4 indicates the pinky.
4. Remember that, for any given fingering,
more than one name may apply to the chord.
For example, Cm6 is equivalent to F7(9) -- or so I am told!
Consult any book on harmonic theory to learn more.
5.2.09
33 rhythms
Here are 33 mostly non-Brazilian rhythms in easy notation for your amusement on congas, pandeiro, whatever. Yes, I know the "samba" and "bossa nova" here are questionable and more than a little oversimplified. But have a go for fun, and there's likely 1 or two you haven't heard of or tried before. Of course if you have favorites you'd like to share, please send them along!
3.2.09
Here comes Carnaval 2009
I'm very sorry not to be in Brazil at this time of year! Right now the rehearsals are full-speed-ahead from Recife to Salvador to Rio and beyond. I'm not sure if it just makes the saudades worse to follow the photography of this Carioca but I'm doing so anyway:
http://flickr.com/photos/claudiolara/
http://flickr.com/photos/claudiolara/
31.1.09
Marcos Suzano's instructional DVD for pandeiristas
If you play the pandeiro, it's more than likely that you've heard of master percussionist Marcos Suzano. I learned yesterday that he has a pandeiro instruction DVD out, and bought it immediately. The catch is that the only source I know of is Amazon Japan and the audio is in Portuguese with Japanese subtitles. I ordered it yesterday, and with shipping to the US it came to about US$62. Should be here in about a week. If you're interested, here 'tis.
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