Samba, Choro, Baiao:

Brazilian Drum-Set Performance

Presented by Andy Smith
PAS Kentucky State Day of Percussion
Singletary Center for the Arts, University of Kentucky, March 5, 2011
I. Bossa-Samba Morph:
- Repeat each variation until comfortable, then move on to the next one.

- Practice while listening to bossa nova or samba recordings, emphasizing feel and sonic balance.
- This process reveals a relationship between the common bossa rhythm (Var. 1) and the common
tamborim rhythm for samba (Var. 5). Each is also a legitimate rhythm variation for samba or bossa. Cool!

>
y y y
x

Var. 1

>
y xy y

Var. 3

>
>
>
y y y y y y y y y y y y y
x x x x
J
J
J
J

>
y y y
x

Var. 2

>
>
>
xy y y xy y xy y xy y y xy y y

J
J
J
J
>
y y y
x

>
y y y y y
x x x
J
J

Var. 5

>
y xy y

Var. 4

II. Transcription:
-Transcribe ideas from brazilian music recordings.

>
>
>
y y y y y y y y y y y y y
x x x x x
J
J
J
J

>
>
>
xy y xy xy y xy y xy y y xy y y

J
J
J
J

>
>
y y y y y y y y
x
x x
x
J
J

- Transcribe tamborim parts from pagode, tropicalia, bossa, samba, or samba-jazz recordings. and apply
them as musical variations for the left hand on your snare drum, rim-knock, mounted tamborim, etc.

Var. 1

Tamborim Transcriptions: From Argumento by Paulinho da Viola

Var. 2

Var. 3

Var. 4

j
j

j
j

j
j

j
j

j
j

asmithdrum 2011

Samba, Choro, Baiao:

III. Tercero (Third Surdo) Improvisations for Samba Batucada

The first (marcacao) and second (resposta) surdos in samba batucada mark beats 1 and 2.
The third surdo (corte) gives the bateria its funky syncopation and forward motion. This drum "speaks"
improvisatory variations like the examples below. Incorporate them into samba orchestrations by playing
tamborim and caixa parts in your left hand, or by filling in the space in a functional/improvisational manner.

Var. 1

j
!

Var. 2

Var. 3

Var. 4

! ! ! ! ! !

j
!
.j
. !

IV. Bass Drum Variations for Samba

These variations are common as an alternate groove or as a phrase ending or "turn-around."

These variations or phrase endings are heard commonly in the music of artists like Elis Regina.

>
y y y
x

>
y y y y y
x
x x

J
J

Var. 1 Basic Samba Bass Drum

>
>
>
>
y y y y y y y y y y y y y y y y
x x
x x
x x x x

Var. 2 Groove Variation

>
>
y y y y y y y y
x
x
x
x

J
J

>
>
y y Y y y Y
x x x x

Var. 3 Turn-Around

>
>
y y Y y y Y
x x x
x

V. Samba Batucada (Escola de Samba) Caixa Parts

You can orchestrate samba batucada caixa parts around the drum-kit.
Add the surdo on the big "2." Then add the second surdo, and additional variations.
Ultimately, you can express the feeling of the part in creative and less explicit orchestrations.
Var. 1 Unidos do Viradouro Caixa Pattern

>
> ^ >
^ > ^
^
f f f f
R L L R R L R L

R L R L R L L R

Var. 3 Add the second surdo and tercero variations

> ^> > > ^ > >

f f
R L L R R L R L

R L R L R L L R

Var. 2 Add the primero surdo

>
> ^ >
^ > ^
^
f f f f
R L L R R L R L

> >> > > > > >

y y y y y y y y

J
J
J
J

R L R L R L L R

> >> > > > > >

yyyy yyyy

J
J
J
J

Var. 4 Additional orchestration and variation

Samba, Choro, Baiao:

VI. Baiao
Baiao comes from the North East of Brazil, partcularly the state of Pernambuco. The traditional
instrumentation includes accordian, triangle, and zabumba a bass drum played with a mallet
in one hand and a thin stick , the bacalhao, in the other. For drum-set, the kick drum emulates the right hand of
the zabumba part. There are many possible rhythms for the left hand in baiao derived from the left hand stick part
played by the zabumba player in the folkloric setting.
Var. 1 Common Drum-set Orchestration

>
>
Y
Y
y y
y y

y
y

Var. 2

Var. 4

>
>
Y
Y
y y
y y

y
y
j

Var. 3

Var. 5

VII. Brazilian-Jazz Variations for Baiao

If you familiarize yourself with the language of a given style, the possibilities for orchestration
and variation are endless. Let the dynamic, timbre, energy, etc. of the music determine where to go.

Var. 1 Cymbals Only: Ride outlines the baqueta rhythms

y y y y yy yy y y y y y yy yy y
y y y y y y y y y y y y

Var. 2

y y y y yy yy y yy yy y yy y y
y y y y y y y y y y y y

Var. 3 Broken-Jazz Variations for full kit

y xy xy y xy y xy y xy xy y xy xy y xy y xy y xy xy
y y y y y y y y

!"#$"%&'()*)%&+",-).&
+*"/,0,"1&2*3#4567&86*9)*#"1:6!
"#$%$&'$(!)*!
+&(*!,-.'/!
"+,!0$&'123*!,'4'$!54*!67!"$#21%%.6&!
,.&89$'4#*!:$&'$#!76#!'/$!+#'%!
,4'1#(4*;!<4#2/!=;!>?@@!
!
;,5761,1<&!3<<657,)15&
!
!"#$".&
A9.%!B$8.&4! !
!
!
CA9.%D!!E6#!4&*'/.&8F!
,$#8.6!<$&($G!
!
!
CH6#.G6&'$!+)$#'6D!
"419.&/6!(4!I.694! !
!
CA1!,61!J!,4-)4D! !
CB4.G$%!(6!,4-)4D!
:94#4!K1&$%! !
!
!
C<$1%!<6-$&'6%D!
L$'/!:4#M49/6!
!
!
C:4&'4!6!,4-)4!($!,46!"N196D!
O6#8$!+#48N6! !
!
!
CJ%!<$9/6#$%!($!H6P$D!
!
'()*).&
".Q.81.&/4! !
!
!
+&*!
K$9%6&!+9M$%! !
!
!
+&*!
R1.&84!!
!
!
!
+&*!
!
+",-).&
R.9)$#'6!R.9! !
!
!
C,N6!O6N6!I.M6SD!
T1.%!R6&G484! !
!
!
CI69'4!"#4!:1#'.#D!
:/.26!,2.$&2$!U!K4VN6!W1-).!
C+7#62.)$#($9.4D!
!
!
!
!
!
!

!=)15)*5.&
&

!
!

&