Instruments

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src="/web/20070207063845im_/http://www.batucaxe.org/images/B.gif" width="93" height="128"></div> </td> </tr> </table> </td> <td width="602" valign="top"> <table width="100%" border="0" cellpadding="0" cellspacing="0"> <tr> <td width="602" height="65" valign="bottom"><img src="/web/20070207063845im_/http://www.batucaxe.org/images/atucaxe.gif" width="332" height="63"></td> </tr> <tr> <td valign="middle" height="65"><img src="/web/20070207063845im_/http://www.batucaxe.org/images/Instruments.gif" hspace="100" width="301" height="58"></td> </tr> </table> </td> </tr> </table> </td> </tr> <tr> <td valign="top"> <table width="100%" border="1" cellpadding="3" cellspacing="0" bordercolor="#000099"> <tr> <td height="175" valign="top"> <div align="center"> </div> </td> <td valign="top" align="center"> <p><b><img src="/web/20070207063845im_/http://www.batucaxe.org/images/Instruments/All_Instruments.jpg" width="175" height="153" align="middle"></b><b><font size="+2" font color="#0000FF"><a href="sound/bateria.mp3">HEAR THE BATERIA</a></font> </b></p> </td> </tr> <tr> <td width="120" height="125" valign="middle"> <p><img src="/web/20070207063845im_/http://www.batucaxe.org/images/Instruments/SURDO.jpg" width="100" height="124" hspace="3"></p> <p align="center"><a href="sound/surdo.mp3">Hear the SURDO</a></p> </td> <td width="499" valign="top"><b><font color="#0000FF">SURDO-</font></b> Instrument that keeps the bateria together, the heart, the hand of the metronome, the foundation where all other instruments rest. It is a big metallic cylinder with a tight skin in each extremity, and it hangs from the shoulder of the musician, fastened by a leather strap. It is played with a wooden stick with a wooden head covered in velvet, to absorb the sound. The player uses the stick with one hand, and uses the other hand as a muffler. There are 3 kinds of surdos: the <i>first surdo</i> which attacks on the downbeat and uses the hand to muffle the upbeat; the <i>second surdo</i>, which is a little smaller than the first and has a sharper tuning. It also plays the opposite way: the stick strikes on the upbeat while the hand muffles the downbeat. The way the surdo has been played throughout the years hasn't changed but the evolution of the rhythmic concept asked for a third beat, as a complement to the others, preempting the voids, to elaborate without disturbing the balance. This is called the <i>surdo centrador</i> - surdo in the center.</td> </tr> <tr> <td height="125" valign="middle"> <p><img src="/web/20070207063845im_/http://www.batucaxe.org/images/Instruments/GANZA.jpg" width="109" height="59"></p> <p align="center"><a href="sound/chocalho.mp3">Hear the GANZA</a></p> </td> <td valign="top"><b><font color="#0000FF">GANZA-</font></b> Also called <i>chocalho</i>, it's an instrument that went through radical changes throughout the times. It was, before, a long metallic cylinder, filled with small metal balls or tacks, which shaken rhythmically would preempt the spaces of the patterns of the other instruments, with its crisp and chirping sound. With the passing of years, it evolved into a wooden square (or, more recently aluminum) with rows of little cymbals, which turned its sound more aggressive and strong. The composer Bide introduced the ganza in the schools of samba and in the orchestra, as well.</td> </tr> <tr> <td height="125" valign="middle"> <p><img src="/web/20070207063845im_/http://www.batucaxe.org/images/Instruments/TAMBOURIM.jpg" width="86" height="95" hspace="10"></p> <p align="center"><a href="sound/tamborim.mp3">Hear the TAMBORIM</a></p> </td> <td valign="top"><b><font color="#0000FF">TAMBORIM-</font></b> The sharper instrument of the bateria, it complements all the sounds, it closes, rounds up the circle. The tamborim is a very small metallic cylinder with leather skin in one of the ends (nowadays, the leather is substituted with nylon in order to make a louder sound). It is played with a stick, make of wood before but today made of plastic, which can measure up to 50 cm of length, to project the sound even more. The player uses the fingers of the hand that holds it to mark the beat - it has a very aggressive, strident sound. The players change the rhythm pattern in the second part of the melody (the bridge) not only for dynamics but also to rest their arms, for it's a very demanding and precise instrument.</td> </tr> <tr> <td height="125" valign="top"> <p><img src="/web/20070207063845im_/http://www.batucaxe.org/images/Instruments/AGOGO.jpg" width="98" height="124" hspace="5"></p> <p align="center"><a href="sound/agogo.mp3">Hear the AGOGO</a></p> </td> <td valign="top"><b><font color="#0000FF">AGOGO-</font></b> One of the most primitive instruments, it was used before to mark rhythms such as <i>baião, maracatu, côco</i>. In the 50s it was introduced in the schools of samba. It consists of 2 metal cones, held together by a metallic stem, which serves as a handle. Nowadays, one can find agogòs with even 5 mouths (or cones), varying in pitch (maybe inspired by the sound of the Caribbean steel drums). It is played with a wooden stick and it gives color to the bateria. Its participation is also very visual, it composes the scenic part of the show, for the players have their movements choreographed. The agogò has to be extremely well played or else it would cause conflict with the beat of the tamborim.</td> </tr> <tr> <td height="161" valign="top"> <div align="center"> <p><img src="/web/20070207063845im_/http://www.batucaxe.org/images/Instruments/CUICAH.jpg" width="98" height="96"></p> <p><a href="sound/cuica.mp3">Hear the CUICA</a></p> </div> </td> <td valign="top"><b><font color="#0000FF">CUICA-</font></b> Instrument made of a wooden barrel (in the early days, today a rarity) or metal, with leather skin in one end and a bamboo stick in the interior, which comes from the center of the skin, and it's rubbed with a damp cloth or even a moist hand to produce a very exotic sound, that varies in pitch and complements the colors of the bateria. It doesn't have a function to mark the beat but rather it performs as a soloist, it's an instrument of great creativity. The cuica attracts the curiosity of foreign musicians and tourists for its originality of sounds, unique and amusing.</td> </tr> <tr> <td height="168" valign="top"> <div align="center"> <p><img src="/web/20070207063845im_/http://www.batucaxe.org/images/Instruments/MALECA.jpg" width="109" height="103"></p> <p><a href="sound/caixa.mp3">Hear the CAIXA</a></p> </div> </td> <td valign="top"><b><font color="#0000FF">CAIXA (TAROL)-</font></b> This instrument is a kind of snare drum, it produces the roll; it has the same function as the castagnettes in Spanish music - it gives color to the bateria. It is a small metallic cylinder with leather skins (or, more frequently, nylon skins) in each extremity, and it has in the bottom a tress made of the bass guitar strings, crossed four times for friction. The upper skin is called "the calling skin" and the lower is called "the answer skin." It is played with 2 wooden sticks and it also hangs from the players shoulders fastened by a strap. Its beat is repetitious, with no interruptions and it calls, incites, provokes the other instruments with its rolls.</td> </tr> <tr> <td height="209" valign="top"> <div align="center"> <p><img src="/web/20070207063845im_/http://www.batucaxe.org/images/Instruments/REPINIQUE.jpg" width="109" height="125"></p> <p><a href="sound/repique.mp3">Hear the REPIQUE</a></p> </div> </td> <td valign="top"><b><font color="#0000FF">REPIQUE-</font></b> This instrument was introduced in the bateria in the 50's and it's a complement to the tamborim. It is a "calling" instrument, gives the starting sign to the players. It's a cylinder, more or less the same size of the tarol, it has leather skin or nylon in each end and it's played with a wooden stick. It also hangs from the player's shoulder, who uses one hand as a rhythmic support. It is a very creative and inventive instrument, it plays different patterns, marking the attack for the bateria.</td> </tr> <tr> <td height="50" valign="top"> <div align="center"> <p> </p> </div> </td> <td valign="top"> <p><b><font color="#0000FF">Text written by Regina Werneck in accordance to an interview with Master Marcal. Liner Notes, "A Incrivel Bateria do Mestre Marcal." <br> Rio, November 1987.</font></b></p> </td> </tr> </table> </table> <table width="750" border="3" cellpadding="0" cellspacing="0" bordercolor="#000099" bgcolor="000099" height="50"> <tr> <td width 100% align="center"><font color="ffff66"><b><a href="about.htm">About</a> --- <a href="contact.htm">Contact Us</a> --- <a href="calendar.htm">Calendar</a> --- <a href="people.htm">People</a> --- <a href="https://web.archive.org/web/20070207063845/http://www.batucaxe.org/calendar.htm"></a><a href="photos.htm">Photos</a> --- <a href="samba.htm">Brazilian Samba</a><br> <a href="dance.htm">Dance</a> --- <a href="membersonly/membersonly.htm"></a><a href="links.htm">Links</a> --- <a href="membersonly/membersonly.htm">Members Only</a></b></font></td> </tr> </table> </body> </html>

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