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Samba

Samba. Brazil. Samba. Samba Originates from Brazil but its’ roots are in Africa (Angola). The music was used by African slaves brought to Brazil by Portuguese settlers. Slaves originally used the music for religious occasions

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Samba

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  1. Samba

  2. Brazil

  3. Samba • Samba Originates from Brazil but its’ roots are in Africa (Angola). • The music was used by African slaves brought to Brazil by Portuguese settlers. • Slaves originally used the music for religious occasions • Now used in the Rio Carnivals which are held around Easter time.

  4. Samba • Rio de Janeiro • Samba Batucada– most common (fast) • Carnivals / Street Parades • Important Occasions in Brazil • Months of Preparation • Samba band perform • Colourful costumes • Happy mood

  5. HEART of the Samba Band • Largest used to keep the rhythm together • The Surdo drum is usually made of metal and fitted with a top and bottom head (skin) • It is usually fitted with a shoulder strap • The right hand uses a padded beater to play the rhythm, and the left hand is used for the muffled (x) strokes • A large floor tom tom or a bass drum can be used as a substitute for the surdo • The rhythm of the surdo uses two kinds of stroke: • Muffled Stroke (x). The left hand muffles the middle of the head, the drum is struck with the beater in the right hand. • Open Stroke (o). The head is allowed to sustain the sound. Strike the drum in the middle of the head, removing the beater quickly afterwards to let the sound sustain. The left hand is off the drum. Surdo 1

  6. Surdo 2 • Same shape as Surdo 1 just smaller in size.

  7. Caixa • The Caixa is a marching drum or snare drum. • Different sizes, anything from 10-50 centremetres deep • used with and without the snares. • The snares are a row of small strings made out of metal or cat-gut, which is strung across the bottom head. • Originated from military bands • The drummers in these bands had learned the European playing techniques and transferred them to the Brazillian rhythms. • Rhythms are usually played with two sticks. • Attention must be paid to the accents, (>). • Sometimes the accents are played as rim shots.  

  8. Tambourim • The tamborim is a small hand-held drum with a single head. The shell of the drum is usually made of metal. • The drum is held in the left hand by the thumb and index finger. • The third and fourth fingers are used to muffle the head when playing muffled (x) strokes and are removed from the head when playing open (o) strokes. • The right hand strikes the head with a special two or three branched beater. If a special beater is not available a small drum stick can be used.

  9. Chocalho • Made of a tin cylinder filled with sand or shot • Sometimes there are more imaginative models made with two cylinders or even small pieces of metal loosely attached (Ganza) • The basic rhythm is played by moving the instrument away from the body and back towards the body again • The rhythm played is usually even quavers throughout the bar • When this technique has been mastered, accents can be added on certain beats and half beats

  10. Agogo Bells • Agogo bells are pairs of bells joined by a curved metal rod • Shaped much longer than a regular cowbell and generally tuned in third • Played with a stick held in the right hand while the left hand holds the instrument and can also squeeze the two bells together producing a "chick" sound • Sound can be controlled by the left hand by positioning the thumb and finger toward the mouth of the bells (open/close) • The stick can be made by metal or wood

  11. Apito • The whistle is used to conduct the Samba band. It is loud enough to cut through the noise of all the drumming.

  12. You are going to learn the.... Lazy Samba

  13. Surdo 1 Surdo 2 Caixa Tambourim Agogo Bells Chocalho

  14. Solo Section

  15. Samba Lesson 3 Objectives • To perform a piece of Samba music containing several contrasting sections • Understand and use Call and Response in a piece of music

  16. Samba Lesson 3 Call and Response • Call and response • or Question and answer • An instrument makes the call or asks the question, in our case the teacher. • Another instrument responds or gives the answer. • Teacher calls • Pupils respond

  17. Call and Response

  18. Lazy Samba Performance • ‘Call and Response’ Introduction • Main Samba • Solo Section • Main Samba • One bar of Solo Section to finish

  19. Samba Lesson 4 Objectives • To perform a piece of Samba music containing several contrasting sections • Using Call and Response • Understand and use Dynamics

  20. Samba Lesson 4 Dynamics • Loud and Soft • Forte- (F) Loud • Piano- (P) Soft

  21. Dynamics • Loud and Soft • Crescendo - Gradually get louder • Diminuendo - Gradually get softer P F F P

  22. Full Performance

  23. Samba Lesson 5 Objectives • To compose a Call and Response Samba rhythm. • To perform a piece of Samba music containing several contrasting sections including call and response and dynamics.

  24. Call Response Crotchet Crotchet Rest Quavers Hull Rest Old - ham

  25. School Pandeiro Call Response School Timbalada Call Response

  26. Full Performance

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