Welcome to the fourth part of the Introduction to Capoeira Music series, where we will learn a bit more about the rest of capoeira’s orchestra.

The berimbau may be capoeira’s most famous and unique instrument, but capoeira’s sound is not truly complete without the accompaniment of the atabaque and pandeiro (and in some cases, the reco reco and agogo).

The atabaque and pandeiro are rhythm instruments more commonly known as a drum and tambourine, respectively. The capoeira game can be played without these two instruments, but it probably won’t be as lively or energetic if they are missing.

Hopefully when you’re done reading this post, you’ll know a little more about each instrument, and you’ll be able to take some basic rhythms with you to practice.

Atabaque

Photo from Wikipedia

The atabaque is a drum typically made from Brazilian jacaranda wood and animal skin. You play the atabaque with your hands, and most of the time while standing.

The basic rhythm is pretty easy to start with (definitely easier at first than the berimbau, in my opinion), but it gets a bit tricky when you are playing with the rest of the instruments and singing in a frantic roda. Like everything else: practice makes perfect.

This is a basic atabaque rhythm:

Once you get the hang of the basics, you can move on to other rhythms like maculele and samba de roda. And when you really start progressing, you can begin adding flourishes and improvisations to the basic rhythms.

Here are some things to keep in mind while playing the atabaque:

• Keep your hands relaxed while playing.
• There should be a distinct difference in sound when you hit the middle of the atabaque head and the edge.
• The atabaque should not be played so loud that it overpowers the berimbau.
• When switching atabaque players, try to switch quickly and not miss a beat.

Pandeiro

Photo by jandoo (Flickr)

The pandeiro plays essentially the same part as the atabaque: it keeps the rhythm.

Its smaller than the atabaque, but don’t let the pandeiro’s small stature fool you; it still takes time to master, and could even be considered harder to learn than the atabaque. But because it is small (not to mention less expensive) it’s more practical to learn on in the comfort of your own home. And you can then take what you learn on the pandeiro and apply it to the atabaque when you’re in class.

It takes a bit of dexterity to play the pandeiro well, because truly getting the most out of the instrument requires you to use the fingers, thumb, palm, and heel of your hand.

These are some basic pandeiro rhythms:

You probably noticed that it sounds a lot like the basic atabaque rhythm. Good obvservation! The basic rhythms are the same, you just play the pandeiro with one hand instead of two. And just like the atabaque, once you get good at the pandeiro you can improvide and add your own flourishes.

Here are some things to keep in mind while playing the pandeiro:

• Hitting the middle of the pandeiro should produce a tone different from hitting the edge.
• You can change the tone of the rim hit by pressing your thumb against the skin.
• Try to practice the pandeiro on both hands so you can switch if you start to get tired.
• “Don’t spank the pandeiro. Enough said.”

Supporting Instruments

These final two instruments are not played in all capoeira rodas, and in my experience, are more likely to be found in angola rodas than regional.

Reco Reco

Photo from LSC

The reco reco is a a bamboo instrument played by scraping a stick across grooves in the body.

I couldn’t find any video tutorials, but here are a few good tips:

• The rhythm is 1-2-3 (rest).
• Don’t make all the scrapes in the same direction. Try towards you (1), away (2), towards you (3).

Agogo

Photo from LSC

The agogo is a high pitched bell. It is played by tapping a stick against the bells.

Again, I couldn’t find any video tutorials, but I offer you a few words of wisdom:

• The agogo has a high sound that can be heard above the other instruments, so stay on the beat.
• Some groups play high-low-high, while others play low-high-low.

This concludes our Intro to Capoeira Music series. I will follow up with an appendix of useful resources so you can expand upon what you’ve learned. I hope this series has been useful and enjoyable. I’ve learned a lot from it, and I hope you have too!

I apologize.

I could just take a few minutes and whip something up, but I want to make it worth all of our time, so that just wouldn’t be right.

I hope you understand that I’m not a pro-blogger, and I do feel genuinely bad for not completing what I set out to do.  I’ve learned an important lesson here though, if I ever do take my blogging to the “pro” level.  From now on if I set out to write any more series posts, I’m going to do them in advance.  Because I feel like a buffoon for starting something that is taking a while to finish (in a perfect world it would have been 5 Wednesdays and 5 posts).

I do plan to have the series finished for next week.  But for now, I will leave you with this totally awesome yet totally unrelated video:

Oh, and to those of you in the states: have a great 4th of July weekend!

Photo by Allison McCarthy (Flickr)

Welcome to the third part of the Introduction to Capoeira Music series, where we will learn a bit more about the berimbau.

The berimbau is a one-stringed instrument that originated in Africa. It is integral to capoeira, yet it is also used in many other musical styles and cultures. In capoeira, whoever plays the berimbau controls the pace of the music, and thus the pace of the game.

There are three types of berimbaus: gunga (low), medio (middle), and viola (high). The three sizes work together and provide rhythm, improvisation, and harmony. Traditional angola rodas use all three, while it is common to use only one berimbau in a regional roda (though, this is not a strict rule, and it is usually up to the mestre).

If you want to learn capoeira, you must learn the berimbau. Like anything in capoeira, and any instrument for that matter, learning how to play the berimbau takes dedication and practice. You will not master the berimbau over night. But the more you play the better you will become, and that’s what’s important.

Berimbau Anatomy

The berimbau is played by striking the string with a stick while a rock or coin is pressed against the string to change the tone. It may sound simple, but anyone who has seen or played a berimbau knows that it is nothing of the sort.

Before you start playing the berimbau, you should know what you’re working with.

Image from worldartswest.org

The berimbau is made of three main parts:

Verga: The verga is a wooden bow, four-to-five feet long. It is traditionally made from biriba wood, which grows natively in Brazil.

Arame: The arame is a steel wire that usually comes from the inside of a car tire. Check out this post on how to make your own berimbau arame.

Cabaca: The cabaca is a hollow gourd with a hole in one end that is tied to the main body of the berimbau and acts as a resonator. You can create a muffled sound by pressing the cabaca to your stomach.

To play the berimbau, you need:

Baqueta: The baqueta is a wooden stick used to strike the arame.

Dobrao: The dobrao is a coin or rock used to change the tone of the berimbau.

Caxixi: The caxixi is a woven shaker held in the same hand as the baqueta, and is used to enrich the berimbau’s sound.

Berimbau Basics

The berimbau is a unique instrument that takes time to learn, and a lifetime to master.

The first thing you need to do is string the berimbau. Luckily for you, I made an earlier post on how to string your berimbau, so check it out.

The second thing you need to do is get used to holding and balancing the berimbau. Your pinky goes under the string holding the cabaca (and yes, your pinky will be in pain and maybe go numb at first, that’s normal), your ring and middle finger curl around and grip the verga, and you hold the dobrao with your thumb and pointer finger. The best thing you can do is have someone show you the correct grip, because it’s tricky to explain.

Berimbaus are pretty long and end up being top-heavy, so you need to learn how to balance the berimbau and train your wrist to keep it straight. If you don’t balance the berimbau well, it will tip and sway all over the place, and make it a lot harder to play anything. Practice tilting the berimbau up and down and side to side with your wrist, without playing, so that you can get used to the way it feels. When you get really good, you can use this practice to show off.

Once you get the basic grip, you can start to make some sounds (I say sounds, because unless you’re an uber talented musician, I don’t think you’ll be playing crazy good music the first time you hold a berimbau).

Each note comes from striking the arame with the baqueta, which you hold in your opposite hand with the caxixi (to hold the caxixi, rest it in your palm with the loop facing your fingers, and stick your middle two fingers through the loop). The different tones (closed, open, and buzz) come from pressing, lifting, and gently touching the dobrao to the arame.

Mixing up these tones can create an infinite number of toques (rhythms) and improvisations. But, you’re gonna want to start with the basics. Here are some more tips for getting the hang of playing the berimbau.

Here are two basic toques that you can try:

Sao Bente Grande de Angola

Sao Bente Grande

These are two of the most common toques in capoeira, and if you learn them, you’ll be well on your way to learning many more. There are many more examples on Soul Capoeira’s YouTube channel.

So, there you have it. I haven’t told you everything there is to know about the berimbau, but I think I’ve given you enough to be dangerous with. You can’t get better unless you play, so grab a berimbau and PLAY!

Be sure to check out Part 4 of this series where we discuss capoeira’s other instruments.

Click here to see the video. For some reason, I can’t figure out how to embed it in the post.

I’m glad she passed it on when she did, because it ties in well with the music series we’re running at the moment. Unlike other “what is capoeira” or “capoeira is awesome” videos I’ve seen, this one spends a lot of time going over how important music is to capoeira, and doesn’t just focus on backflips and kicks.

At around the 1:00 mark Mestre Eclilson de Jesus starts talking about the music in capoeira, and he goes over each of the instruments and their role, which is great. At 2:40 he goes into how important it is for capoeiristas to learn Portuguese, and gives a great explanation of the way songs are used to comment on the game (I really liked this part).

So, check it out. I hope you enjoy!

Photo by pleaseknock (Flickr)

Welcome to the second part of the Introduction to Capoeira Music series, where we will learn a bit more about singing.

Let me begin this post with a preface, something I’ve said many times before: I’m not a very good singer. I have been improving lately, but it still gives me the most trouble of anything in capoeira. There are people out there, people reading and commenting on this blog, who are much more qualified than I to be giving you lessons on singing in capoeira.

But, the point of this series is to introduce you to the world of capoeira music, to give you a bit of background information and something to work on, and I think I can do that. I heartily encourage you to learn all you can from your mestre and more experienced capoeiristas in your group. Those lessons, and the experience that comes from hands on practice, are invaluable.

First, let’s go over the basic types of capoeira songs so we know what we’re dealing with. Songs in capoeira come in a few different forms:

• Ladainha – a solo sung at the beginning of the roda. The ladainha usually occurs in capoeira angola, but can be found in regional too.
• Quadra – a four-verse song in the call-and-response style.
• Corrido – songs with one or two verses that are also answered by the chorus in call-and-response.

There are hundreds, if not thousands, of capoeira songs out there. Some are more well known than others, some written by famous mestres, and some written anonymously. Lyrics might be different from group to group, but most of them stay very similar across the capoeira world.

As long as you have a basic understanding of how to sing in capoeira, and you don’t stand there with your mouth slackjawed open not trying, there’s a good chance you’ll be able to follow along.

To get an overview of singing in capoeira, why it is important to participate in the songs, and how to improve your singing, read this guest-post by Patrick. There’s no sense in me repeating everything he already went over in detail, so I’ll just give you some basic points:

• The roda needs energy. Singing gives the roda its energy, it’s axe. So, SING!
• Sing all the time. Sing in the car, in the shower, walking down the street, whenever you can. Don’t just sing in the roda.
• You don’t have to be a good singer to be good at singing in capoeira. What matters is your passion and energy, not your tone.
• Your singing should come from the stomach; don’t force it from your throat. This will save you from getting a sore throat!
• Try to learn a bit of Portuguese, or at least learn the meaning of each song you learn, because you’ll be better able to keep up with the singing if you know what the words are.
• Practice with capoeira CDs and MP3s on your own.
• For more tips, check out Shayna’s wonderful list of singing tips on responding to the chorus and leading the songs.
• SING!

So, now that you know why singing is important, you might be wondering how you can get started (especially if you have no one to learn from). Well, fortunately for you I’m psychic, so I’m gonna help you out.

First, check out these top five sites for capoeira song lyrics. Try to find some that you may have heard, or that you have on CD, or that you can find a sample of, and get to practicing! This is another good lyrics site.

Don’t go overboard and try to learn 10 songs at once. It’s just like learning movements; you don’t jump into florieo the first day. Start slow, and you’ll get there in no time.

Some of the best songs to start with are the ones with very simple lyrics, words repeated over and over, or even just sounds and calls. For example,

Oi sim sim sim, Oi não não não
Oi sim sim sim, Oi não não não
Oi não não não, Oi sim sim sim
Oi sim sim sim, Oi não não não
Mas hoje tem, amanha não
Mas hoje tem, amanha não
Oi sim sim sim, Oi não não não
Mas hoje tem, amanha não
Olha a pisada de Lampião
Oi sim sim sim, Oi não não não

Oh yes yes yes, oh no no no
Oh yes yes yes, oh no no no
Oh yes yes yes, oh no no no
Oh yes yes yes, oh no no no
Today you have it, tomorrow you don’t
Today you have it, tomorrow you don’t
Oh yes yes yes, oh no no no
Today you have it, tomorrow you don’t
Look at the footprints of Lampião
Oh yes yes yes, oh no no no

See? Not that hard at all.

Another common song with easy lyrics is usually sung at the end of a roda:

Adeus
Boa viagem
Adeus, adeus
Boa viagem
Eu vou
Boa viagem
Eu vou, eu vou
Boa viagem
…

Good bye
Good trip
Good bye, good bye
Good trip
I go
Good trip
I go, I go
Good trip
…

Now that you have some lyrics under your cord, let’s learn how to sing them.

For a very good intro to singing in capoeira (and another song you can learn), we need look no further than Soul Capoeira. Chan put together a three part tutorial on capoeira singing that I definitely couldn’t have done better myself. Here’s the first video:

And when you’re done with that, learn how to sing accompanied by the pandeiro, and berimbau.

By the way, it is quite difficult at first to get the hang of singing and clapping at the same time (nevermind singing and playing an instrument). Even once you think you’ve got it, you’ll be trying to learn a new song and then your clapping will get all messed up. It happens to everyone. Don’t get down about it. Just practice!

So, there you have it. A little foray into the vast ocean that is singing in capoeira. I hope I’ve given you some good basics to start from. And remember, like all things in capoeira, becoming good at singing takes time, dedication, and practice. You won’t become a pro overnight. But stick to it, and you’ll be sure to bring your axe to the roda!

Be sure to check out Part 3 of this series where we discuss the berimbau.

He is the lucky winner of one month’s subscription to LearnCapoeira.com

Shane, if you’re reading this, I sent you an email with some more information and followup stuff.

Congratulations, Shane.  And a big thanks to everyone who participated in the contest.  I hope y’all had fun, and I can’t wait until I can do something like this again in the future.

Don’t wait if you want to get your free month’s subscription to LearnCapoeira.com.

The lucky winner will be announced tomorrow!

Don’t you want to take a chance at winning one month free from Learn Capoeira?

All you have to do is leave a comment on the announcement post, and you’ll be automatically entered to win! The contest ends Monday June 9th (4 days left!), and the winner will be announced on Tuesday. I purposely tried to make this contest as easy as I could! Luckily I didn’t go with the “write me a two-page double-spaced essay on what capoeira means to you” idea.

Even if you train with a capoeira group, it couldn’t hurt to check out Learn Capoeira for a month. You might learn a new combination, or notice something that was wrong with one of your movements, or learn a new berimbau toque.

Well, what are you waiting for?

P.S. Leaving a comment on this post won’t do anything. It needs to be left on the Contest Post.

Who goes there? It’s me,
Who goes there? It’s me,
playing the berimbau,
Capoeira that is me

Photo by Roda de Angoleiros (Flickr)

Welcome to The Capoeira Blog’s new blog-series about capoeira music (a spinoff of the Capoeira for Beginners series).

All novice capoeiristas must understand that music is as important to capoeira as the ginga. Perhaps more important, in fact, because without the berimbau to lead, there could be no jogo. And without the jogo, there is no true capoeira

For some people, the musical aspect of capoeira comes very easy. For others, it’s the hardest part for them to learn. But the fact remains, if you want to be a well-rounded capoeirista, and truly participate in the roda, you need to learn the music.

Because of this, I’ve decided to write a few posts dealing with the basic aspects of capoeira music. I’ve said it before, and I’ll say it again, this is not meant to be a comprehensive resource of all things capoeira music. This is meant as an introduction; a way to give beginners (and those for whom music isn’t a strong point) a place to get a feel for capoeira’s beautiful melodies.

The series is split into 5 Parts:

Part 1: The Basics

Part 2: Singing

Part 3: The Berimbau

Part 4: The Atabaque, Pandeiro, and Supporting Instruments

Part 5: Resources

As you may have noticed, this introductory post is The Basics, so without further ado…

Call and Response

Most capoeira songs (corridos) are sung in a form of call and response. That is, one person sings a verse (this is commonly whoever is playing the berimbau, but it certainly doesn’t have to be), and the rest of the roda sings a chorus in response.

An exception to this rule comes in capoeira angola, where, at the beginning of the roda, the mestre will sing a solo called a ladainha. Ladainhas can be songs written by mestres of old and passed down through generations, or they can be made up on the spot to fit the mood of the mestre and the roda. As I said, the ladainha is most often found in capoeira angola, but that doesn’t mean it can’t happen in capoeira regional.

Sometimes the songs are simple and easy to remember, and other times they are long and difficult to learn. When you are taking your first crack at capoeira songs, you’d do well to try and memorize some of the more basic songs until you get the hang of it. I’ll give you some ones to start with in another post.

One of the things that makes it hard for many people (especially non-Brazilians) to get the hang of capoeira songs is that they are all sung in Portuguese. If you don’t understand what everyone is singing, it’s hard to make out the individual words.

The BEST thing you can do is ask your mestre or other more experienced students to write down the lyrics of any songs that you practice, so that way you can follow along and actually know what you’re saying. The next best thing is to find capoeira music online, or on a CD, and search around online (or, again, ask other capoeiristas) for the lyrics, and practice with that.

By the way, your progress will be painfully slow if you only sing during class. You’d do well to get some CDs or MP3s and practice as much as you can on your own time.

The Bateria

For as long as capoeira has been around, instruments have accompanied the game. The area of the roda where the musicians stand is commonly referred to as the bateria.

The bateria is made up of three basic instruments:

The berimbau is a bow-like instrument that (many people believe) originated in Africa. It sets the pace of both the music and the game, and thus, is the most important instrument in capoeira.

The atabaque is a tall Afro-Brazilian drum that provides the basic rhythm and beat for the capoeira game. It is not necessary in all rodas, and is usually omitted in more spontaneous rodas or outside demonstrations because of its size.

The pandeiro, on the other hand, is a Brazilian tambourine that will be found in almost every capoeira roda due to its small size (easy to carry with you) and because it’s quite easy to play.

There are other instruments involved in capoeira, and you’ll learn more about all of them later in the series.

Music and the Game

If you’ve played capoeira for any decent amount of time, or even if you’ve only witnessed a roda or two, you’ve no doubt realized that music controls the capoeira game.

This can happen in more ways than one…

The most obvious example of music’s influence on the game is that the game follows the pace of the music. If the berimbau and atabaque play slowly and the singing is subdued, the players follow along and slow themselves down. If the berimbau speeds up, the singing becomes louder and faster, and the atabaque player’s hands seem like they might fall off, the game heats up as well and the kicks start flying in a blur.

But another way that music can influence the game is less obvious to anyone who doesn’t speak Portuguese, unfortunately. What I mean is, whoever is leading the songs (usually a mestre or high cord) can improvise and start talking about what’s happening in the game. He can comment on the game, telling a player what to do, or poking fun at some mistake. If the game is getting violent, he can tell the players to calm down, and if it’s too slow, he can tell them to pick up the pace.

So, there you have it; an introduction to the music of capoeira. If I’ve gotten anything wrong, or explained anything poorly, please let me know. I am by no means an expert on capoeira music, and I’m not adverse to updating anything if need be.

Be sure to check out Part 2 of this series where we take a closer look at singing in capoeira.

One year ago this month I sat down at my computer and decided to start a blog about capoeira. If you had told me then, that a year later, my words would have been read by thousands of people around the world, I would have laughed at you.

I didn’t set out to become any kind of authority on capoeira–and I’m still nothing of the sort–but I can’t deny that people have and will continue to come here to The Capoeira Blog to read my posts, and I really couldn’t be prouder of what I’ve accomplished.

So, what have I accomplished?

57,000 hits. Almost 1,000 fans on Facebook. An average of 300 page views a day (for the past couple of months). Over 100 posts (though, I wouldn’t mind if this were more). And I’ve met some great people.

Here are some of the top posts from the past year:

How To Get Better At Capoeira

Building Strength, Flexibility, and Balance For Capoeira

Capoeira For Beginners

How To Do An Au Batido

Common Capoeira Injury: How To Treat An Ankle Sprain

The 5 Best Strength Training Exercises For Over The Holidays (And Anytime!)

8 Ways To Be A Better Capoeira Instructor

Capoeira Is A Conversation

Why Is Capoeira an Art Form And Not a Martial Art?

Is Capoeira Viable as Self Defense?

The Ways We Describe Capoeira

And, the fact of the matter is, that I wouldn’t be anywhere if it weren’t for you guys, my wonderful readers, who have supported me, dealt with my breaks, spread the word, and have been willing to actually read what I have to say.

So, to celebrate this milestone,

I’m going to give away one month’s subscription to Learn Capoeira.

How can you get in on this action? It’s easy. All you have to do is leave a comment on this post. And when I say comment, I don’t mean just dropping in to say “hi” or something; I’d appreciate it if you took the time to write at least one sentence.

The contest closes on June 9th, and I’ll announce the lucky capoeirista on the 10th. The winner will be chosen by a random winner generator so that all is fair.

So, there you have it. I hope you’ve enjoyed the ride as much as I have, and I hope you’ll stay with me for the next 12 months!

Thank you!