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1 Alto Baitone Saxophones omping Basi pattens (Maxixe): R Samba Samba evolved fom maxixe aound the 10s Two elements wee uial fo the definition of its style: the pattens eated by new and old peussion instuments that would late fom the bateia (peussion ensemble), and the development of a two-ba patten played by the guita, diffeentiating it fom the one-ba patten of the maxixe: Thee ae seveal pattens that an be used fo samba Most often samba is played with a two-ba patten, one atiulating the downbeat, the othe with a 16 th -note antiipation Thee ae diffeent types of samba that diffe in instumentation, pattens, funtion, voal style, tempo, et The most well-known deivations ae the samba-enedo, sambahoo, samba-anção, gafieia, samba-de-beque, samba-de-oda, pagode, patido alto, and samba-funk omping Patido Alto Oiginally, the tem patido alto efes to an old style of samba with a fixed efain and impovised houses This samba style has most eently had a omebak Duing the 70s though, the tem patido alto began to be assoiated with its patiula hythmi patten in non-voal musi as well, and to be pefomed in patiula by instumental ensembles with dumset and It is often used in, but not limited to, a pop o funk ontext The patido alto patten an stat in eithe measue of its two-ba patten The melody detemines whih one should be used: C 7 C 7 pe Bazilian and Afo-Cuban azz Coneption

2 Alto Baitone Saxophones II CUBAN Unlike Bazilian musi, Cuban musi evolves aound a two-measue hythmi patten alled lave The lave is a hythmi ell that is oganized in eithe o pattens They ae the basis of omplex polyhythmi stutues in Cuban musi, into whih the othe hythmi and melodi elements should fit The patten of the lave is played on a pai of ound wood stiks, also named laves Son Claves: - Clave - Clave 1 Son and Son-Montuno Many Afo-Cuban musi styles have thei oots in the son Thee ae many types of son: afo-son, guaia-son, umba-son, and othes, inluding what we know today as Salsa The son is haateized by the lave, and the tumbao, a typial line and onga patten Note that the line always antiipates the ba line by one quatenote lave onga P T S T P T O P T S T P T O O O = Open tone P = Palm T = Finge tips S = Slap If the piano plays a patten alled montuno, then the style is efeed to as son-montuno Example of Son montunos: omping b F Bb C 7 F b lave 1 Bazilian and Afo-Cuban azz Coneption

3 Alto Baitone Saxophones Eb Taks 11 6 Baião Santa Cuz to Milton Nasimento Fenando Bandão q = 116 Into Ü 11 7 Δ7 # 17 A Ó # 7 # (EΔ#5) # 5 # F 7 n b b b 1 A 7 6 # # # 57 Sequene in / 6 Sequene in / F 7 b n b n b b n n # 68 Bazilian and Afo-Cuban azz Coneption 006 advane musi, all ights eseved

4 Alto Baitone Saxophones 7 81 A 7 Pevious motif in / # # 8 7 b F 7 n b A 1 7 # b6 5 # n# # (opt) 6 # # 6 # nbn # n F 7 1 n n b n # # n n 17 Tag # 1 # # # # # E # n E Δ n 1 E 7 n n E Δ # unison 006 advane musi, all ights eseved 5 Bazilian and Afo-Cuban azz Coneption

5 Annotations and Exeises SANTA CRUZ (p ) 1 Points of inteest: Use of (Δ7) hod F 7 - E7 bings olo to othewise diatoni hamoni pogession (AΔ7, and in key) Use of / phases in mm 61 6 Vaiety of hythmi ideas: Mm 107 and 111: both mino and mao sixth appea below the 7 Note the diffeent ontexts: tension-esolution in m 107 and sustained tension in m 111 Exeises: 1 Exploe the hythmi motives above in you impovisation Memoize and tanspose the phases in the following measues to at least two othe keys: 61 65; 87 0; 117 1; BANGU (p 6) Points of inteest: To failitate eading, the 7/ time signatue is subdivided in / + / with dotted balines Simple hamoni pogession mostly with Doian modes Rhythmi and melodi vaiations: m 1 ompaed to m 5 (see below) # # # # # # n b m 7 ompaed to m 8 (see below) 6 # # nw Ó n n b n n b Invesion of pevious melodi line n n m 1 ompaed to m 1 m 17 ompaed to m 18 m 5 ompaed to m 6 56 Bazilian and Afo-Cuban azz Coneption

6 Annotations and Exeises Sequenes and phases that go aoss the baline: mm 1 1 m 5 ontains hythmi displaements m 6 ontains hythmi displaements mm # # C Ó b > b n b > n b Goups of / n> b n b > b n > b n mm mm 7 8 Diffeent uppe stutues an eate moe than one possibility fo sales in A# ø : m 16: EΔ7#5, Supeloian (Note: C# is a passing note to this uppe stutue hod!) m 0: G#7, Supeloian mm 7 8: The sale is G# hamoni mao! Othe possibilities ae A# Loian and G# hamoni mino Exeises: 1 Listen to the 7/ goove and play in unison with the aompaniment Impovise using pentatoni sales of oot and 5 th (eg, fo the B hod use B and/o F# pentatoni sales) Wite down, play and impovise on the possible diffeent sales fo A# ø that ae mentioned above Ceate anothe sequene in / with aoss-the-baline phasing and play ove hanges 5 Ty the following hythmi motives when impovising: 7 1 Afte getting familia with these hythms, ty modifying them You an eate simple vaiations like hanging two 8 th -notes into a quate note, o vie-vesa 57 Bazilian and Afo-Cuban azz Coneption