Figure 1

SUPPLEMENTARY MATERIALS
NOTE: ANY HANDOUT MAY ALSO BE COPIED AND USED AS AN
OVERHEAD. TEACHERS WHO DOWNLOAD THE MANUAL MAY PROJECT
MATERIALS USING A LCD PROJECTOR.
CHAPTER 1
Brazil’s National Music
HANDOUT 1.1
Chapter 1 Style/Genre Reference Guide
Origins
Sambaenredo
Samba de
morro
Sambacanção
Pagode
Sambade-roda
Purpose
/Function
Description/Characteristics
39
HANDOUT 1.2
Song Comparison Chart
Song/Artist
Tempo
Instruments/Voice
Form
Description
40
CHAPTER 2
Projecting Brazilian Identity Nationally and Internationally
HANDOUT 2.1
Chapter 2 Style/Genre Reference Guide
Origins
Choro
Brazilian
Art Music
Bossa
Nova
Tropicália
MPB
Música
Brega
Purpose
/Function
Description/Characteristics
41
HANDOUT 2.2
"Língua de Preto” Listening guide
Timing
0:00
Theme 1
Event
0:46
Theme 2
1:01
Theme 1
1:22
Theme 3
1:42
Repeat and transition
1:59
Theme 1
2:24
Coda
2:50
Fade out
Description
42
43
HANDOUT 2.3
“The Girl from Ipanema” (“"Garôta de Ipanema")
Time
0:00
Event
Intro
0:08
A
Melody
Male vocal
João Gilberto
Male vocal
0:23
A
Male vocal
0:37
B
Male vocal
1:07
A
Male vocal
1:22
A
Female vocal
Astrud Gilberto
1:36
A
Female vocal
1:51
B
Female vocal
2:21
A
Female vocal
2:35
AABA
Saxophone solo
Stan Getz
3:38
A
Piano
Tom Jobim
3:52
A
Piano
4:18
B
Female vocal
4:48
A
Female vocal, Saxophone
counterline
5:00
Coda
Female vocal, saxophone
fills
Description
44
HANDOUT 2.4
Comparison of Artists
Length of
career
Record sales
Entertainment
media
Covers by
other artists
Roberto
Carlos:
King of
Brazilian Pop
Music
From 1958 to
present
Total of more
than 100
million copies;
first Latin
American to
sell more than
the Beatles
Recordings;
Live concerts;
Radio;
Television;
motion pictures
Songs recorded
by other major
Brazilian
artists
Benny
Goodman:
King of Swing
Clifton
Chenier:
King of Zydeco
Elvis Presley:
The King of
Rock and Roll
45
46
CHAPTER 3
Expressing Afro-Brazilian and Indigenous Identity
HANDOUT 3.1
Chapter 3 Style/Genre Reference Guide
Origins
Capoeira
Angola
Capoeira
Regional
Capoeira
Atual
Music of
the
KayapóKikrin
Purpose/Function
Description/Characteristics
47
Handout 3.2
Angola Toque
Handout/Overhead 33
Berimbau Comparisons
Instrument
Berimbau gunga
Pitch range
Low
Berimbau médio
Middle
Berimbau viola
High
Function
Plays the principal rhythm pattern
called the toque
Plays a rhythm that complements
that of the berimbau gunga
Plays variations and decorations
of the basic rhythm
48
CHAPTER 4
The Sound of the Northeast
HANDOUT 4.1
Chapter 4 Style/Genre Reference Guide
Origins
Bumbameu-boi
CavaloMarinho
Maracatu
de Nação
Maracatu
Rural
Baião
Forró
Purpose
/Function
Description/Characteristics
49
50
HANDOUT 4.2
Rabeca baiano, 1
Rabeca baiano, 2
51
HANDOUT 4.3
"Forró em Monteiro" Listening Guide
CD Track 13
Solo sanfona de oito baixos
(Button accordion)
0:04
Quarter = 192+ Varies
CD Track 14
sanfona de oito baixos, triangle,
pandeiro, zabumba
0:08
0:12
0:17
Timing of start of second half of
melody
Description/comments on
performance of second half of
melody
0:20
0:25
Timing of repeat of second half
of melody
Note any difference during repeat
of second half of melody
0:29
0:34
D.S. to beginning
0:37
0:42
Repeat on D.S
0:44
0:51
Instrumentation
Start of transcribed melody
Tempo
Description/Comments on
performance of first half of
melody.
Timing of repeat of first melody
Note any differences during
repeat of first half of melody.
Played an octave lower
Both 1st and 2nd part are repeated
again before fading out
52
OVERHEAD 4.4
"Forró em Monteiro “ Melody
53
CHAPTER 5
Expressing Southern Brazilian Identity
HANDOUT 5.1
Chapter 5 Style/Genre Reference Guide
Origins
Purpose
/Function
Description/Characteristics
Música
caipira
Música
sertaneja
Música
gaúcha
HANDOUT 5.2
Comparison of Toadas and Modas-de-viola
Toadas
Modas-de-viola
54
HANDOUT 5.3
“Queluzindo” Listening Guide
Timing
0:00
Theme A
Event
0:27
Fingers on wood
0:39
Pause
0:41
Theme B
1:00
Repeat
1:23
Theme ?
2:00
Pause
2:02
Theme ?
2:31
Pause
2:32
Theme ?
3:15
Final chord
Description
HANDOUT 5.4
Música Sertaneja Style Comparison Chart
Sub-style
Acoustic sertaneja
“Modernized”
sertaneja
Today’s Sertaneja
Description/Characteristics
55
HANDOUT 5.5
"Céu, Sol, Sul, Terra e Cor" Lyrics
Portuguese
English
Eu quero andar nas coxilhas
I want to walk on the grasslands
Sentindo as flechilhas das ervas do chão
Feeling the grass on the ground
Ter os pés roseteados de campo
To have my feet roughened from walking in the
Ficar mais trigueiro com o sol de verão
country
Fazer versos, cantando as belezas
Become browned by the summer sun
Desta natureza sem par
To write poetry that sings of the beauties
E mostrar, para quem quiser ver
Of this unequaled nature
Um lugar pra viver sem chorar.
And show to whomever wants to see
A place to live without sadness
É o meu Rio Grande do Sul
It's my Rio Grande do Sul
Céu, sol, sul, terra e cor
Sky, sun, south, land, and color
Onde tudo que se planta cresce
Where everything planted grows
E o que mais floresce é o amor.
And what flourishes most is love
Eu quero banhar nas fontes
I want to bathe in the springs
E olhar horizontes com Deus
And see horizons with God
E sentir que as cantigas nativas
And feel that the native songs
Continuam vivas para os filhos meus.
Will be alive for my sons
Ver os campos florindo e crianças sorrindo
To see the fields flowering and children smiling
Felizes a cantar
Singing happily
E mostrar, para quem quiser ver
And show to whomever wants to see
Um lugar pra viver sem chorar.
A place to live without sadness
56
HANDOUT 5.6
"Céu, Sol, Sul, Terra e Cor" Listening Guide
0:00
Timing
Event
Introduction
Description
Triple meter, viola, bass, percussion
0:17
Verse
Solo male voice
Male and female voices-- 3rd/6ths
0:46
0:55
Verse
1:09
1:34
Male and female voices—3rds/6ths
Verse
2:02
2:12
Solo male voice
Male and female voices—3rds/6ths
Verse
2:25
2:50
Solo male voice
Solo male voice
Male and female voices—3rds/6ths
Ending
Fade out with accordion
57
58
HANDOUT 5.7
“Milonga Para as Missões” Listening Guide
Timing
0:00
Event
Introduction
Description
Improvisatory style with guitar, button accordion; arpeggios,
chords, brief motifs
As notated; measure two is more extended on recording
0:36
0:43
Measure 1 of
transcription
A
0:59
B
1:13
Post-B
1:21
A
1:35
B
1:49
Post-B
Interlude is extended
1:59
A
Much different from notation—mostly brass section lead
2:15
B
2:29
Post-B
Brass lead beginning at 2:35
2:43
A
Return to less complex-more like section at 1:21
2:57
B
3:13
Post-B
Percussion accompaniment added
Adds brass background at 1:26
Very abbreviated-ends with chord and fall in brass
59
CHAPTER 6
Innovative Music Scene of Recife
Handout 6.1
Chapter 6 Style/Genre Reference Chart
Origins
Mangue
Purpose
/Function
Description/Characteristics
60
HANDOUT 6.2
“Samba de Dez Linhas” Lyrics
É um vaquero encourado
Dois touro brabo correndo
Tres contavento moedo
Quatro cego malcriado
Cinco duzia de aleijado
Sies velha pedindo esmola
Cinco duzia de aleijado
Sies velha pedindo esmola
Sete pásso na gaila
Oito carga de aguardente
Nove elha sem ter dente
Dez cordas numa viola
It’s one leather clad cowboy
Two wild bulls running
Three wind-powered mills grinding
Four rude blind men
Five dozen cripples
Six old ladies begging
Five dozen cripples
Six old ladies begging
Seven birds in the cage
Eight shots of cane rum
Nine toothless old ladies
Ten Strings on a viola.
Com dez eu pego na casa
Com vinte assento os esteio
Com trinta eu parto o meio
Quarenta eu nao me atraso
Com cinquenta eu cavo a base
Sessenta a porta e a janela
Setenta eu obro a tigela
Oitenta eu ripo e amarro
Com noventa eu bato o barro
E com cem estou dentro dela
With ten I start the house
With twenty I set the supports
With thirty I divide it in the middle
Forty I don’t delay
With fifty I dig the foundation
Sixty the door and window
Seventy, I raise the walls
Eighty I raise the roof beam and tie the tiles
With ninety I line it with clay
And with a hundred I’m inside it
Lá na Torre Malakoff
Vi acender uma luz
Na rua do Bom Jesus
Afinei minha rebeca
Fui para a Rua da Moeda
Tocar com muita armonía
Fui para a Rua da Moeda
Tocar com muita armonía
Lá tem gente todo dia
Vai até de madruga
Tomando muita cachaca
No Bar da Cachacaria
There in Malakoff tower
I saw a light go on
On the Rua do Bom Jesus
I tuned my rebeca
I went to the Rua da Moeda
To play with much harmony
I went to the Rua da Moeda
To play with much harmony
It’s crowded there every day
Until dawn
Drinking lots of cachaca
At the Cachacaria Bar.
61
HANDOUT 6.2
“Samba de Dez Linhas” LISTENING GUIDE
Time
Event
0:00
Introduction
1:04
Solo
1:18
Chorus
1:23
Solo voice
1:39
Instrumental section
2:12
Solo
2:27
Chorus
2:32
Solo
Description
Instrumental
solo
Chorus
Solo
Instrumental
Coda
Techno pop, electronic
62
Handout 6.3
“Samba de Dez Linhas” Instrumental Motifs