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

8. Surdo 1 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

9. Surdo 2
Same shape as Surdo 1 just smaller in size.

10. Caixa The Caixa is a marching drum or snare drum.
Different sizes, anything from 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.  

11. 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.

12. 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

13. 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

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

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

16. Surdo 1
Surdo 2
Caixa
Tambourim
Agogo Bells
Chocalho

17. Solo Section

18. 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

19. 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

20. Call and Response

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

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

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

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

25. Full Performance Section Dynamic Symbol Call and Response Forte F
Samba
Forte with Diminuendo
Solo Section
Piano with Crescendo P
Ending (1st bar of solo section)
Double Forte FF

26. 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.

27. Call
Response
Crotchet
Crotchet Rest
Quavers
Hull
Rest
Old ham

28. Call Response Call Response
School Pandeiro
Call
Response
School Timbalada
Call
Response

29. Full Performance Section Dynamic Symbol F P FF
Pandeiro Call + Response
Forte F
Timbalada Call + Response
Group Call and Response
Samba
Forte with Diminuendo
Solo Section
Piano with Crescendo P
Ending (1st bar of solo section)
Double Forte FF