Basi patterns (Maxixe): R 3 Samba Samba evolved from maxixe around the 190s Two elements were ruial for the definition of its style: the patterns reated by new and old perussion instruments that would later form the bateria (perussion ensemble), and the development of a two-bar pattern played by the guitar, differentiating it from the one-bar pattern of the maxixe: There are several patterns that an be used for samba Most often samba is played with a two-bar pattern, one artiulating the downbeat, the other with a 16 th -note antiipation There are different types of samba that differ in instrumentation, patterns, funtion, voal style, tempo, et The most well-known derivations are the samba-enredo, sambahoro, samba-anção, gafieira, samba-de-breque, samba-de-roda, pagode, partido alto, and samba-funk Partido Alto Originally, the term partido alto refers to an old style of samba with a fixed refrain and improvised horuses This samba style has most reently had a omebak During the 70s though, the term partido alto began to be assoiated with its partiular rhythmi pattern in non-voal musi as well, and to be performed in partiular by instrumental ensembles with drumset and It is often used in, but not limited to, a pop or funk ontext The partido alto pattern an start in either measure of its two-bar pattern The melody determines whih one should be used: per 9 Brazilian and Afro-Cuban azz Coneption
The partido alto pattern is often simplified, with rhythms split between and aompaniment that plays the aents: per b b n b n b 5 Samba-Funk Samba-funk often uses the partido alto pattern (see above) with a funk feel Variations of the Partido alto pattern are also used with or without funk or pop feel You an also reate a samba-funk feel by using a regular funk groove and adding samba perussion instruments and patterns on top Example of variation: b b 6 Bossa-Nova Bossa-Nova evolved around the late 50s by middle/high lass musiians that used samba patterns with azz harmoni progressions and hord tensions It uses two and one-bar pattern, and has a onept of integration where all instruments and voals are balaned in funtion and dynamis The rhythmi aompaniment (and voal style) reated by oão Gilberto mixed transparent and lear patterns where the harmoni voiings of progressions were as important as the melody Examples of one-bar patterns: 10 Brazilian and Afro-Cuban azz Coneption
II CUBAN Unlike Brazilian musi, Cuban musi evolves around a two-measure rhythmi pattern alled lave The lave is a rhythmi ell that is organized in either 3 or 3 patterns They are the basis of omplex polyrhythmi strutures in Cuban musi, into whih the other rhythmi and melodi elements should fit The pattern of the lave is played on a pair of round wood stiks, also named laves Son Claves: -3 Clave 3- Clave 1 Son and Son-Montuno Many Afro-Cuban musi styles have their roots in the son There are many types of son: afro-son, guaira-son, rumba-son, and others, inluding what we know today as Salsa The son is haraterized by the lave, and the tumbao, a typial line and onga pattern Note that the line always antiipates the bar line by one quarternote lave onga P T S T P T O P T S T P T O O O = Open tone P = Palm T = Finger tips S = Slap If the piano plays a pattern alled montuno, then the style is referred to as son-montuno Example of 3 Son montunos: b F Bb F b lave 13 Brazilian and Afro-Cuban azz Coneption
RHYTHMIC AND MELODIC INTERPRETATION There are different ways one an interpret the rhythms of any given melody in the styles presented in this book First you need to get familiar with some of the typial rhythms that are often seen in Brazilian and Afro-Cuban musi Common rhythmi figures Repeat eah figure several times in a loop Pratie them first using one single note Now work on some of the rhythmi variations that are onstruted either by using ties and rests or in ombination with other rhythms: 1 3 R R 5 6 R 7 8 9 10 11 1 13 1 15 Length of synopated notes They an vary depending on tempo, style and personal interpretation In faster tempos the tendeny is to shorten synopated notes: This written rhythm ould be played like this: or this: R 15 Brazilian and Afro-Cuban azz Coneption
C Traks 08 3 Baião q = 100 Sanfona to Luis Gonzaga Fernando Brandão A repeated notes D Mixolydian 7 r 1 #11 # # B 17 b D Lydian b7 Bb Δ b n b b13 # n 3 sus n a b n n Bb7 n b #11 9 n # n A 35 1 13 # 7 B Ó F Δ b # Bb Δ n 8 Brazilian and Afro-Cuban azz Coneption 006 advane musi, all rights reserved
53 n sus n # b b9 b b # 59 n b Bb7 b b n A3 65 # # repeated notes 71 # alternative simplified phrase # # b n b n n # # n 76 b B3 b n b13 b 83 Bb Δ n b # N b sus n n 89 b # F Δ b n b Bb7 E ø r b13 n r 95 Tag # N # unison 006 advane musi, all rights reserved 9 Brazilian and Afro-Cuban azz Coneption
Annotations and Exerises 1 SANFONA (p 8) Points of interest: Typial modal Baião on the A setion with Mixolydian and Lydian b7 sales on D7 hord All phrases in this setion and tag are very typial of the style exept for the hromati line on mm 7 through 75 The B setion features a moving harmoni progression through a series of II V I The repeated notes in the phrase in mm 6 through 7 are also harateristi Exerises: 1 Explore the typial rhythmi and melodi motives below in your improvisation Use Mixolydian and Lydian b7 sales: 3 5 1 3 5 6 7 8 9 53 Brazilian and Afro-Cuban azz Coneption