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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