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An introduction to
TEACHERS RESOURCE PACK
By Andrew Searson
CONTENTS
Plan of unit
2
Learning Objectives
3
Resources
3
Sequence of Learning Activities
4
Introducing Samba
6
Warm-ups
8
Samba Reggae
9
Samba Batucada
14
1
Plan of unit
About the unit
This unit introduces the polyrhythmic style of Latin American Samba and identifies its roots in
African and Spanish/Portuguese music.
Through performing Samba pupils will learn the sounds and understand the roles of each
instrument used in Samba and experience the exhilaration and physical impact of percussion
ensemble music.
This unit is based on 6 hour long sessions, but this can be altered to suit the teaching
requirements.
The sequence of learning activities have been written only as a guideline and should be used as
supporting notes and a proposed order of delivery as opposed to actual lesson notes. This should
allow teachers to work according to their own and their pupils requirements.
Expectations
At the end of this unit
Most pupils will: be able to maintain and perform accurately and independently as part of a
group the surdo and chocalo parts of any of the Samba pieces.
Some pupils will not have made so much progress and will: be able to maintain and perform
the simplest parts of the ensemble (e.g. surdo) with some accuracy, when supported by others
playing the same part.
Some pupils will have progressed further and will: be able to maintain either the agogo or
tamborim part independently with fluency, accuracy, and a good sense of rhythm. They will also
be able to support and/or lead others playing the same part.
Language for learning
Through the activities in the unit pupils will be able to understand, use and spell correctly words
relating to:
 Sounds and devices, e.g. ostinato, polyrhythm, strong beat, weak beat, tempo, timbre, call and
response.
 Processes, e.g. rhythms, roles of performers, groove, break.
 Context, e.g. when and where Samba music is performed
2
Learning Objectives
Pupils should learn:






To identify instruments, structures and textures in a piece of percussion ensemble music
To perform as part of a group in a whole class performance
About the musical conventions used in Latin-American music
How rhythmic patterns can be built over a pulse
About the use of different timbres
About call and response
Resources
If possible a Samba kit, containing 3 surdos of different sizes, tamborims, agogos, chocolos and
a snare drum to lead the ensemble. If this is not easily accessible then general classroom
percussion should be adequate, using shakers, tambourines or even guiros instead of chocolos,
big drums for the surdos, smaller drums of higher pitch or classroom drums for tamborims and
cowbells for the duel-pitched agogos, using different positions on the cowbell to give 2 distinct
pitches.
For this project, parts have been written for an ensemble consisting of:
chocolos (shakers)
tamborims
agogos
3 surdos of different sizes
Caixa (snare drum for leader)
A CD has also been produced containing examples of rhythms from both Samba Reggae and
Samba Batucada. It is hoped that this will be particularly useful to teachers who do not read
music notation. The track numbers have been noted in blue next to the appropriate rhythms and
each extract is preceded with 4 beats on the metronome.
3
Sequence of Learning Activities
Session 1
 An introduction on rhythm, explaining how it uses notes of different values combining
together and fitting into a constant beat or pulse - play clapping games, trying to keep in time,
2 claps against one, etc.
 An introduction to Samba, talking a little about the history and where it originates from.
 A demonstration of the instruments that will be used during the project.
 Some warm-up games (page 8), explaining how Samba works with many rhythms all being
played at the same time (polyrhythm).
Session 2
 Begin with recap from last session and warm-ups (page 8)
 An introduction to the rhythms of Samba Reggae (page 9) using the approach of saying the
rhythms first rather that giving out the instruments straight away - 'Say it & Play it!' This
could take some time so do not give out the instruments until you are confident that the pupils
have grasped the main ideas.
 Explain that each individual part plays an important part within the Samba.
 The surdo and chocolo (shaker) parts (page 9) are the most straightforward to learn - this
makes them ideal parts for less able pupils. However, the surdo in particular is fundamental
in maintaining a steady pulse. Therefore is might be an idea to include on or two 'key players'
in these groups who can hold the parts together. If problems occur in keeping the chocolo
part in time it is possible to perform the part in quavers first so that pupils get the feel of a
more simple subdivision of the beat, and then move on to semiquavers. Alternatively, less
confident pupils could perform in quavers all the way through. The agogo and tamborim
parts (page 9) are more complicated so these parts should be allocated appropriately
according to ability
 When satisfied that all the rhythms have been learnt by rote, start with the instruments. When
the pupils have their instruments stand the groups together and demonstrate to each how each
rhythm should be played and then get each group to join in. The other groups need to be
quiet as this is being done to avoid distraction. Emphasise how important teamwork is and
how they should be supporting and listening to each other. When each group is familiar with
playing the correct rhythm it is time to put it all together.
 It is a good idea to start with the main groove, as this is the 'body' of the Samba (page 13 Figure 3). Mention that if individuals get lost then all they need to do is stop and listen to the
others in their group - it should not be too hard for them to pick up the rhythm again. Begin
with the surdos giving them a count of 1 bar in. Then when the pulse is set, add other groups
of instruments one at a time until all rhythms are being played. This may require a lot of
stopping and starting, so brief the pupils on a 'stop' signal so that they can stop immediately if
something has gone wrong.
4
Session 3
 Begin again with warm-up rhythms, and recap on the Samba Reggae rhythms from last time
by practising saying them before using the instruments. It is sometimes beneficial for the
pupils to use different instruments from one session to another, so as to be fair and to broaden
their learning and awareness of the different rhythms used. However, for these first few
sessions it might be an idea for them to stick to the same instruments so as to get the Samba
learnt quicker.
 Start with playing the main groove, playing it over and over until everyone is comfortable.
 Then introduce call and answer (page 12 - Figures 1&2). Explain that there are two types of
call and answer - where the group repeat exactly what the leader plays, and a pre-rehearsed
call and answer where the leader plays one rhythm and the group answer with a different
rhythm that they have already practised. Play a few short rhythms for the group to repeat back
to you to demonstrate that the first option is the easiest. There is nothing stopping you playing
a few of these before starting with the pre-rehearsed example (page 12 - figure 1) to go into
the groove.
 When you are happy that they can answer your call, explain how the call and answer in
figures 1 and 2 work. The small surdo part here is vital as on the 4th time it will have to
come in before everyone else. Do this a few times until it is correct.
 Then work on the ending (page 13 - Figure 4) in the same way. This would also be a good
point to introduce signs (see page 11).
Session 4
 If you feel it necessary, warm-up or go straight into handing out instruments. Recap on the
rhythms if anyone is unsure, as well as the signal learnt so far and the call & answer start and
ending.
 Rehearse the Samba Reggae
 Introduce Breaks (see page 10) and signals for these, and rehearse in the same way as the call
& answer.
 Perform the whole Samba Reggae piece
Session 5
 Begin with a performance of Samba Reggae from the last session
 Introduce Samba Batucada (page 14) and follow the same rehearsal format as Samba Reggae.
This is a good opportunity for pupils to play different instruments.
 Introduce the groove rhythms, followed by call & answer and ending - try and put these
together before the end of this session.
Session 6
 Recap on main rhythms of Samba Batucada from last week.
 Introduce breaks for Samba Batucada (page 15)
 Perform Samba Batucada
5
Introducing Samba
In Brazil's musical history Samba plays an enormous part. It is what has become known as
carnival music from Brazil that features a large percussion ensemble called a Bateria. It is music
to dance to and has its own characteristic rhythms that distinguish it from other Latin American
music.
The music originates in Rio de Janiero and is a mixture of Portuguese/Spanish/African/Cuban
cultures. There are many different types of Samba incorporating many different styles and
influences - two of the most common forms are Samba Reggae and Samba Batucada, both of
which use the same instrumentation
The role of each instrument used in Samba:
Surdo - A bass drum used to mark the beat of
samba music. They keep a steady beat and
alternate between higher and lower pitches.
A smaller surdo often plays an important role
within the ensemble.
Caixa - A drum very similar to the repinique but
with springs on the bottom to create vibration much
like a snare drum.
Tamborim - This is a small-headed drum
that is tuned very high and struck very
quick and sharp with a flexible stick. The
player is able to press and tighten the skin
or dampen the sound whilst playing and plays
more complicated rhythms than the surdo or
chocolo.
Repinique - A small drum similar to the snare drum but
taller that is usually played with one stick and the bare
hand. It has a more metallic sound than the snare
drum and can be used to play solo cues such as call and
response patterns.
Chocolo - A shaker made of either many small
cymbal like metal pieces or a large metal cans
filled with rocks, sand or other material. It plays
even notes throughout.
Agogo - A cowbell sounding instrument with two
bells that is struck by a wooden stick used in
samba music. The bells can also produce a sound
by squeezing them so that they strike each
other. Like the tambourim the ago-go plays
more complicated rhythms than the surdo or
chocolo.
Reco-reco - This is a scraper which plays the same
time values as the chocolo.
6
Samba is made up of several parts which move from one to the other in complete and
flowing movements.
These are:
An opening, generally with a Call & Response. This can go on for whatever length of
time is appropriate, with the leader calling and the rest of the group responding, either
repeating exactly the rhythm of the leader or playing a pre-rehearsed rhythm.
The opening generally ends with a rehearsed call and response which acts as an intro to
the main rhythm of the piece - the Groove.
The Main Groove is when all the instruments play their respective rhythms over and
over. This is the main body of the piece.
The piece can end in many ways; either just stopping, returning to a Call & Response, or
simply ending with a pre-rehearsed ending phrase or rhythm.
Once these sections have been learnt, then it is time to introduce 'breaks'.
These are parts of the piece where the Main Groove stops and other things happen.
For instance:

Everyone plays the same rhythms, which are generally pre-rehearsed (e.g. clave)

Certain instruments play on their own

Instruments play different rhythms

Vocal Breaks
All these breaks, as well as the ending and other things that occur throughout the piece
need to happen so that everyone changes at the same time. This means that the leader
has to signal to the group what the next change will be. It is generally better to keep
these signals simple, as so not to confuse, but liken these signals to a motorway junction
sign - when you see the sign you do not immediately turn off, but you wait for the actual
junction. Therefore when you give a sign, and everyone has understood the next move
(this means all eyes on the leader throughout), you have to follow it by either giving a
1 2 3 4 count in, or giving 4 whistles.
7
Warm-ups
Before commencing with a Samba session it is sometimes useful to warm up physically and
mentally. This will enable the pupils to prepare their minds and focus on rhythm, as well as
preparing their bodies for the physical exertion that Samba requires.
Begin by dividing the class into 2 groups either side of a large room with the teacher in the
centre marching on the spot. Begin the pupils clapping in time with the beat. Then change this
so that group 1 clap on the teachers left foot and group 2 on the right. This will help them get
used to playing in time to a constant beat.
Then introduce the clave rhythm to the whole group: (CD Track 1)
When they are able to do this keep group 1 going on the clave while group 2 return to clapping
on the beat again. That should give a very simple polyrhythm.
Then keep on swapping the parts for each group round so they get used to thinking quickly
about changing from one rhythm to another.
Another body warm up is for the whole class to hit different parts of their body in time theThighs, Stomach, Clicking fingers and clapping over 4 beats:
Right Thigh
Left Thigh
Right Hand on Stomach
Left Hand on Stomach
Right Finger Click
Left Finger Click
Clap (crotchet)
Then divide the class into 2 groups once more. Group 1 continue as above but group 2 miss out
the stomach part, so their part is:
Thigh Thigh Click Click Clap.
Start the 2 groups together so a polyrhythm develops with different body sounds. At some
point the 2 groups should clap together (group 1 on their 3rd cycle and group 2 on their 4th).
At this point they clap with their hands in the air and shout 'hey'.
8
Samba Reggae
This type of Samba is usually played with a laid back feel, with a strong pulse set by the
surdos and the other rhythms played lightly with the accents (emphasis on certain notes)
brought out. The tempo is generally around 100 bpm.
The rhythms can be learnt first without instruments, just by speaking them Say it & Play it!
Shakers: CD Track 2 Like a continuous sneezing fit AhChooAhChooAhChooAhChooAhChooAhChooAhChooAhChooAh
Tamborim: CD Track 3
1
Agogo: CD Track 4
1
Small Surdo: CD Track 5
Bass Surdo 1: CD Track 6
2
3
4
2
Have you got a dog,
great
Bim
big
5
Ba
na
na
3
To
ma
to
dog.
Have you got a
Bim
Bass Surdo 2: CD Track 6
Bom
Bom
Figure 1
The leader plays a short call, which is answered by all the other instruments.
This is played 3 times. CD Track 7
Figure 2
The leader then calls the group into the main groove. This is a typical entrance
into Samba, where the call is altered by the leader and the surdos lead into the
groove, in this case on the 4th beat of the bar with the small surdo entering with
'Have you got a', and then the groove beginning on the next beat - 'Dog'. This
entrance into the groove by the small surdo will be used throughout the Samba.
CD Track 7
Figure 3
This is the main groove for the Samba Reggae. CD Track 9
Figure 4
This is the ending, which is very similar to the opening Call & Response, but on the
3rd time instead of the call being 2 short beats, the last one is a continuous roll,
and the whole piece ends when the leader holds their stick in the air to prepare
for everyone to finish with one big bang.
9
Breaks in Samba Reggae
Break 1 CD Track 8
This is where the Surdos play the following rhythm 4 times whilst everyone else plays
offbeats:
5 beat break
Exactly the same as the opening call and response (figures 1 & 2). CD Track 7
Vocal Break:
Everyone stops playing and sings a low 'whoa' rising to a high 'woah' continuously over 7 beats,
then the small surdo leads back in to the Main Groove on the 8th beat with 'Have you got a'.
To make this more fun, everyone could start by crouching down and steadily rising to their
feet as the note rises.
Silent Break
Same as the Vocal Break but obviously with no sound - this is more effective by crouching
down and steadily rising. To begin with it might be an idea to keep the beat going by either
the leader tapping on the rim of their drum or everyone nodding to the beat.
Individual Instrument Break
This is where each group of different instruments play on there own - Surdo 'stabs' can also
be put in here, where the surdos play on the 1st beat of the bar only.
10
Signs in Samba Reggae
It is sometimes easier to make up your own signs for breaks, but here are a few suggestions:
Break 1
Holding 1 finger up in the air (this idea can then be used for other breaks 2 fingers for Break 2, etc.).
Five beat break
holding your opened hand up in the air, so that 4 fingers and 1 thumb are
visible.
Vocal Break
Starting with your hand by your mouth and moving it away and back,
signalling something coming out of your mouth.
Silent Break
putting a finger up to the lips as if you were telling someone to 'Ssh'.
Individual Instrument Break
Signalling to each group.
Surdo Stabs
an arm movement pushing the elbow in a downward motion, a bit like pulling
on the whistle on a steam train!
Ending
Holding a drumstick horizontally in the air (this is consistently used
throughout Samba as the signal to end).
11
Figure 1
Figure 2
12
Figure 3
Figure 4
13
Samba Batucada
This type of Samba is usually played with a sense of urgency yet controlled and relaxed. The
tempo is generally around 110 bpm.
The rhythms of Samba Batucada can be learnt first without instruments, just by speaking
them Say it & Play it!
Shakers: CD Track 10
Da Ch Ch Da Da Ch Ch Da Da Ch Ch Da Da Ch Ch Da
Tamborim: CD Track 11
Agogo: CD Track 12
Have
I
Small Surdo: CD Track 13
Da
Bass Surdo 1: CD Track 14
Boom
Bass Surdo 2: CD Track 15
Da
you seen
my
car
it's
fan tas
would like
a
cup
of
tea
Da Boom Boom
Da
Da Boom
Da
Da Boom
Da
tic
Da Boom Boom Boom
Da
Da
Da Boom
N.B.
Here the Surdos play with a stick in one hand and use the other hand to slap the
skin of the drum - the 'Da' is using the hand and the 'Boom' is when the stick is
used.
Figure 5
The leader plays a short call, which is answered by all the other instruments.
This is played 3 times. CD Track 16
Figure 6
The leader then calls the group into the main groove. This is done by the leader
altering the call and the answer leads in to the main groove. CD Track 16
Figure 7
This is the main groove for the Samba Batucada. The surdos need to be played
with a beater and hand alternately, the main beat note being played by the
beater. CD Track 18
Figure 8
This is the ending, which is very similar to the opening Call & Response, but on the
3rd time instead of the call being 3 short beats, the last one is a continuous roll,
and the whole piece ends when the leader holds their stick in the air to prepare
for everyone to finish with one big bang.
14
Breaks in Samba Batucada
Break 1 CD Track 17
This is where the 2 bass surdos keep on going and everyone else plays the following rhythm 4
times and then go back to the main groove:
After the 4th cycle the leader could play straight semiquavers in the last bar to lead the
group back into the groove.
Vocal Break:
Everyone stops playing and sings a low 'whoa' rising to a high 'woah' continuously over 7 beats,
then the small surdo leads back in to the Main Groove on the 8th beat with 'Have you got a'.
To make this more fun, everyone could start by crouching down and steadily rising to their
feet as the note rises.
Silent Break
Same as the Vocal Break but obviously with no sound - this is more effective by crouching
down and steadily rising. To begin with it might be an idea to keep the beat going by either
the leader tapping on the rim of their drum or everyone nodding to the beat.
Individual Instrument Break
This is where each group of different instruments play on there own - Surdo 'stabs' can also
be put in here, where the surdos play on the 1st beat of the bar only.
15
Signs in Samba Batucada
It is sometimes easier to make up your own signs for breaks, but here are a few suggestions:
Break 1
Holding 1 finger up in the air (this idea can then be used for other breaks 2 fingers for Break 2, etc.).
Vocal Break
Starting with your hand by your mouth and moving it away and back,
signalling something coming out of your mouth.
Silent Break
putting a finger up to the lips as if you were telling someone to 'Ssh'.
Individual Instrument Break
Signalling to each group.
Surdo Stabs
An arm movement pushing the elbow in a downward motion, a bit like pulling
on the whistle on a steam train!
Ending
Holding a drumstick horizontally in the air (this is consistently used
throughout Samba as the signal to end).
16
Figure 5
Figure 6
17
Figure 7
Figure 8
18