Rhythm Charts
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This Page |
The Rhythms |
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1
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e
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&
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a
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2
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e
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&
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a
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3
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e
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&
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a
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4
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e
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&
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a
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| Main | Bell | Bl |
L
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H
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L
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H
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L
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H
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H
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L
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H
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| Repique | Rp |
x
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x
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X
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x
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x
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x
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X
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x
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x
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x
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X
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x
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x
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x
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X
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x
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| Hand Drum | HD |
o
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o
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S
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o
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o
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o
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S
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o
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o
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o
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S
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o
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o
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o
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S
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o
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| Snare | Cx |
`
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`
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`
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`
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`
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`
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`
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`
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`
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`
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`
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`
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`
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`
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`
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`
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| Surdo Virado II | D2 |
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X
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X
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X
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X
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| Surdo Virado I | D1 |
X
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X
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X
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X
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X
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X
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X
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X
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| Surdo Fundo II | F2 |
X
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X
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| Surdo Fundo I | F1 |
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X
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X
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The charts follow some conventions, but require some additional explanation. The far-left column identifies the section of the rhythm. The second column lists the names of the instruments. In general, the charts are arranged with the lowest-pitched instrument at the bottom and the highest at the top. However, I deviated from this rule whenever necessary to group the instruments. The third column is for 2-letter codes for the instrument names. If you want to make a text version of this chart, copy the whole table (you can't select specific columns) and paste it into a text or e-mail file. Delete all information to the left of the codes in the green column. The rhythm graph and count row will line up correctly, with the instrument codes in the left column. The top row is the count. The two hyphens in the first tan box are for text place markers. The 16 columns under the count graphs the rhythm pattern itself. Periods (.) were used for spacing where no beats are played. These supply place markers when creating text versions of these charts. Grave accents (`) are place markers where there is no rhythm charted yet, either because no rhthym has been composed, or it simply hasn't been graphed yet. |
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High parts are decided by pitch, intricacy of the rhythm, and volume. The repique, bacurinha, and tamborim are all high-pitched instruments. In many cases, they are interchangeable in the charts. However, other considerations are taken into account. The tamborim is played with a single stick, which limits the speed a performer can manage. Fast or intricate parts are better left to two-stick drums like the repique and bacurinha. Onstage, timbales may also fill these roles. Hand drums provide a variety of sounds, depending on the way it is struck. They are great for improvisation. On the other hand, they are not nearly as loud as the metallic-shelled stick drums. Hand drums leads are reserved for times when few other instruments are playing. Repiques are best used over the top of a full band. Hand drums include timbals, jembes, and (onstage) congas. Bells add another dimension to this style of music. They fit African-influenced rhythms well, supplying a pattern reminiscent of West African Nigerian and Mandinke styles, but are not as appropriate for a reggae feel. Variety can be made by using different kinds of bells. The steel agogô has a bright, samba-like sound; the iron gonguê has a heavier, African sound. Shakers always have a place, whether of the ganzá type (metal tube) or xekerê (beaded gourd). The bottom set of rows are for the surdos. Rather than identifying the various surdo parts as "Surdo 1", "Surdo 2", etc., I used terms from Bahia. Fundo is the marcação, or marking, surdos. They are the lowest and usually largest. Dobra is the term for the lead surdos (I have also heard virada). Sometimes I use a specific term for an instrument like gonguê for bell or timbal for hand drum. This just means that instrument would produce the ideal sound for the part. |
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X = stressed beat |
O = open tone (hand drums) S = slap (hand drums) B = bass (hand drums) H = high (bells) L = low (bells) |
| . = rest | ` = not yet notated |