Trademarks Of Traditional Drums Sections From Brazil Samba
The Carnaval of Brazil is becoming more and more a full-year festivity
, with several parties throughout the year. This may be a good reason for lovers of this colorful folklore to learn even more about the worlds largest party. One of the subjects within the samba world that attract the most curiosity is the drummers sections, with all its vibrations, strength and vigor. Some samba-school drum sections can have up to 300 percussionists, with one general director and several assistants. And do you know that in Rios Carnival, some samba-school drum sections have their own mark? Yes, this is true! After some training you will find out that its possible to identify one or other samba-schools drums sections specific characteristics like rhythm acceleration, beat or type of instruments used. Just like in marching bands, tunes can also become a trademark of a specific Drums Section. Lets take a look at the some of the traditional marks of the most important drum sections in Rio samba-schools.- Mangueira's Samba-School Bateria is the easiest of the drum section trademark to being distinguished: When the stick of a "surdo" beater is up, all sticks follow them and are lowered at the same time. This "beat move" was created by "Mestre de Bateria" ( Drums Section Master ) Lcio Pato and is maintained until today. This is the only Drums Section conducted like this. The tune is the only one in the big "surdos". The small ones and the tambourines, at times, make a cut. The late Master Valdomiro was the most famous director from Mangueira's Drums Section.
- Mocidade Independente's Drums Section has its basic mark in the third "surdo" and in the ""repique"": the three beats of a third "surdo", between the first and the second (the offbeat) confer a very special sound. Sebastio Estevo (Tio Miquinho) was the beat creator and Master Andr, the executor.
- Mocidade Independente brought its tambourines wing from the end of the "Bateria" / Drums Section. From 1984, observing an increase in the number of heavy instruments, they were placed in front of it. Master Andr also invented the rattles of batinela - which produced sounds similar to the "caixas". In then 1960's, this Drums section became famous due to its "little stop". In a specific moment of the samba song, the instruments make a silence, having just the "repique" playing the chorus (for a 30 seconds/1 minute time). The "restarting" brings up great enthusiasm to the school. The "trick", however, was audacious since some critics accused the "boldness" of being dangerous, because it could cause the beat crossings.
- At Imprio Serrano, Portela, and Tradio Samba-Schools, the agogs wings excel. Also, they are most known drums sections that use many first and second "surdos". The different agogs' apertures allow them to play the seven musical notes. Thus, complete melodic drawings are common in the "agogs conventions" (they play regular known songs), giving a special color to the execution of these baterias.
- Portela's Drums section, as a reference to the 'Orchestra Tabajara' of Severino Arajo, was considered the "Tabajara of Samba", and still has as its basic characteristic the third "surdo" with the loosened leather, which was created in the 40's by Mestre Sula. When the heavier beat from such "surdo" is played between the first and the second. The cuicas are also played in this moment, resulting in a special sound. Its most famous director was the late Master Betinho.
- At Imprio Serrano Sambo-school, similar resources are used, but the instruments which enter together with the main "surdos", (making them so powerful) are the tambourines and the "caixas". Also, Imperio Serrano was the first school to have the Drums Section in full Carnival costumes at the parades, in the end of the 40's. Calixto, a old component from the Bateria, also introduced the cymbals as samba instrument.
- Estcio de S Drums Section trademark is their strong "repiques", emphasizing the beats, the "taris" and the "caixas", creating a good complement. Between the first and second "surdos" there are the "repiniques" emphasizing the rhythm.
- Salgueiro's Drums Section has its climax in the "caixas" and tambourines. Also, another distinction is the multiple rhythmic drawings of the several of the light instruments, creating a mix swing followed by many admirers.
- Beija-Flor de Nilpolis's Drums Section has its biggest secret in the creative "tambourines conventions", which receive "support" from the taris and "caixas" rhythms.
- Unio da Ilha's Drums Section has been considered one of the most innovative during the last years. Its "tambourines conventions" and the "little stops" make people literally stand up. The tambourines make several kinds of "bossas", making a variation every year, in accordance with the theme-samba. Also, at the beginning, when the samba-de-enredo starts to be played, the cymbals beat together with the first "surdo": A striking trademark of Uniao da Ilha.
- At Imperatriz Leopoldinense's Drums Section, the tambourines excel, being improved every year with new "conventions" created by Drum Section Masters Paulo Moura and Milton Manhes. The "surdo"s repiniques offer a drum beat is characteristic of the school.
- Unidos da Tijuca's Drums Section, named "Pura Cadncia" has a strong beat and obtains a good balance thanks to first and second "surdos", who do not swap. They also heavily rely on the third "surdo", another trademark. The late Master Maral was in charge of this Drums Section for many years. The current Drums Director is Master Casagrande.
- Caprichosos de Pilares' Drums Section has "caixas" with a slower cadence, similar to the jongo beat. The "caixas" excel by duet performed with the centralized "surdos".
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