supplementary materials note: any handout...
TRANSCRIPT
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 1Brazil’s National Music
HANDOUT 1.1Chapter 1 Style/Genre Reference Guide
Origins Purpose/Function
Description/Characteristics
Samba-enredo
Samba demorro
Samba-canção
Pagode
Samba-de-roda
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HANDOUT 1.2Song Comparison Chart
Song/Artist Tempo Instruments/Voice Form Description
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CHAPTER 2Projecting Brazilian Identity Nationally and Internationally
HANDOUT 2.1Chapter 2 Style/Genre Reference Guide
Origins Purpose/Function
Description/Characteristics
Choro
BrazilianArt Music
BossaNova
Tropicália
MPB
MúsicaBrega
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HANDOUT 2.2"Língua de Preto” Listening guide
Timing Event Description0:00 Theme 1
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
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HANDOUT 2.3“The Girl from Ipanema” (“"Garôta de Ipanema")
Time Event Melody Description0:00 Intro Male vocal
João Gilberto0:08 A Male vocal
0:23 A Male vocal
0:37 B Male vocal
1:07 A Male vocal
1:22 A Female vocalAstrud Gilberto
1:36 A Female vocal
1:51 B Female vocal
2:21 A Female vocal
2:35 AABA Saxophone soloStan Getz
3:38 A PianoTom Jobim
3:52 A Piano
4:18 B Female vocal
4:48 A Female vocal, Saxophonecounterline
5:00 Coda Female vocal, saxophonefills
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HANDOUT 2.4Comparison of Artists
RobertoCarlos:King of
Brazilian PopMusic
BennyGoodman:
King of Swing
CliftonChenier:
King of Zydeco
Elvis Presley:The King of
Rock and Roll
Length ofcareer
From 1958 topresent
Record sales Total of morethan 100million copies;first LatinAmerican tosell more thanthe Beatles
Entertainmentmedia
Recordings;Live concerts;Radio;Television;motion pictures
Covers byother artists
Songs recordedby other majorBrazilianartists
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CHAPTER 3Expressing Afro-Brazilian and Indigenous Identity
HANDOUT 3.1Chapter 3 Style/Genre Reference Guide
Origins Purpose/Function Description/CharacteristicsCapoeiraAngola
CapoeiraRegional
CapoeiraAtual
Music oftheKayapó-Kikrin
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Handout 3.2Angola Toque
Handout/Overhead 33 Berimbau Comparisons
Instrument Pitch range FunctionBerimbau gunga Low Plays the principal rhythm pattern
called the toqueBerimbau médio Middle Plays a rhythm that complements
that of the berimbau gungaBerimbau viola High Plays variations and decorations
of the basic rhythm
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CHAPTER 4The Sound of the Northeast
HANDOUT 4.1Chapter 4 Style/Genre Reference Guide
Origins Purpose/Function
Description/Characteristics
Bumba-meu-boi
Cavalo-Marinho
Maracatude Nação
MaracatuRural
Baião
Forró
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HANDOUT 4.2
Rabeca baiano, 1
Rabeca baiano, 2
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HANDOUT 4.3"Forró em Monteiro" Listening Guide
CD Track 13 CD Track 14Instrumentation Solo sanfona de oito baixos
(Button accordion)sanfona de oito baixos, triangle,pandeiro, zabumba
Start of transcribed melody 0:04 0:08Tempo Quarter = 192+ Varies
Description/Comments onperformance of first half ofmelody.
Timing of repeat of first melody 0:12 0:17
Note any differences duringrepeat of first half of melody.
Timing of start of second half ofmelody
0:20 0:25
Description/comments onperformance of second half ofmelody
Timing of repeat of second halfof melody
0:29 0:34
Note any difference during repeatof second half of melody
Played an octave lower
D.S. to beginning 0:37 0:42
Repeat on D.S 0:44 0:51
Both 1st and 2nd part are repeatedagain before fading out
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OVERHEAD 4.4"Forró em Monteiro “ Melody
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CHAPTER 5Expressing Southern Brazilian Identity
HANDOUT 5.1Chapter 5 Style/Genre Reference Guide
Origins Purpose/Function
Description/Characteristics
Músicacaipira
Músicasertaneja
Músicagaúcha
HANDOUT 5.2
Comparison of Toadas and Modas-de-violaToadas
Modas-de-viola
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HANDOUT 5.3“Queluzindo” Listening Guide
Timing Event Description0:00 Theme A
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
HANDOUT 5.4Música Sertaneja Style Comparison Chart
Sub-style Description/CharacteristicsAcoustic sertaneja
“Modernized”sertaneja
Today’s Sertaneja
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HANDOUT 5.5"Céu, Sol, Sul, Terra e Cor" Lyrics
Portuguese English
Eu quero andar nas coxilhas
Sentindo as flechilhas das ervas do chão
Ter os pés roseteados de campo
Ficar mais trigueiro com o sol de verão
Fazer versos, cantando as belezas
Desta natureza sem par
E mostrar, para quem quiser ver
Um lugar pra viver sem chorar.
I want to walk on the grasslands
Feeling the grass on the ground
To have my feet roughened from walking in the
country
Become browned by the summer sun
To write poetry that sings of the beauties
Of this unequaled nature
And show to whomever wants to see
A place to live without sadness
É o meu Rio Grande do Sul
Céu, sol, sul, terra e cor
Onde tudo que se planta cresce
E o que mais floresce é o amor.
It's my Rio Grande do Sul
Sky, sun, south, land, and color
Where everything planted grows
And what flourishes most is love
Eu quero banhar nas fontes
E olhar horizontes com Deus
E sentir que as cantigas nativas
Continuam vivas para os filhos meus.
Ver os campos florindo e crianças sorrindo
Felizes a cantar
E mostrar, para quem quiser ver
Um lugar pra viver sem chorar.
I want to bathe in the springs
And see horizons with God
And feel that the native songs
Will be alive for my sons
To see the fields flowering and children smiling
Singing happily
And show to whomever wants to see
A place to live without sadness
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HANDOUT 5.6"Céu, Sol, Sul, Terra e Cor" Listening Guide
Timing Event Description0:00 Introduction Triple meter, viola, bass, percussion
0:17 Verse Solo male voice
0:46 Male and female voices-- 3rd/6ths
0:55 Verse Solo male voice
1:09 Male and female voices—3rds/6ths
1:34 Verse Solo male voice
2:02 Male and female voices—3rds/6ths
2:12 Verse Solo male voice
2:25 Male and female voices—3rds/6ths
2:50 Ending Fade out with accordion
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HANDOUT 5.7
“Milonga Para as Missões” Listening Guide
Timing Event Description0:00 Introduction Improvisatory style with guitar, button accordion; arpeggios,
chords, brief motifs0:36 Measure 1 of
transcriptionAs notated; measure two is more extended on recording
0:43 A Percussion accompaniment added
0:59 B
1:13 Post-B
1:21 A Adds brass background at 1:26
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 Very abbreviated-ends with chord and fall in brass
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CHAPTER 6Innovative Music Scene of Recife
Handout 6.1Chapter 6 Style/Genre Reference Chart
Origins Purpose/Function
Description/Characteristics
Mangue
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HANDOUT 6.2“Samba de Dez Linhas” Lyrics
É um vaquero encouradoDois touro brabo correndoTres contavento moedoQuatro cego malcriadoCinco duzia de aleijadoSies velha pedindo esmolaCinco duzia de aleijadoSies velha pedindo esmolaSete pásso na gailaOito carga de aguardenteNove elha sem ter denteDez cordas numa viola
It’s one leather clad cowboyTwo wild bulls runningThree wind-powered mills grindingFour rude blind menFive dozen cripplesSix old ladies beggingFive dozen cripplesSix old ladies beggingSeven birds in the cageEight shots of cane rumNine toothless old ladiesTen Strings on a viola.
Com dez eu pego na casaCom vinte assento os esteioCom trinta eu parto o meioQuarenta eu nao me atrasoCom cinquenta eu cavo a baseSessenta a porta e a janelaSetenta eu obro a tigelaOitenta eu ripo e amarroCom noventa eu bato o barroE com cem estou dentro dela
With ten I start the houseWith twenty I set the supportsWith thirty I divide it in the middleForty I don’t delayWith fifty I dig the foundationSixty the door and windowSeventy, I raise the wallsEighty I raise the roof beam and tie the tilesWith ninety I line it with clayAnd with a hundred I’m inside it
Lá na Torre MalakoffVi acender uma luzNa rua do Bom JesusAfinei minha rebecaFui para a Rua da MoedaTocar com muita armoníaFui para a Rua da MoedaTocar com muita armoníaLá tem gente todo diaVai até de madrugaTomando muita cachacaNo Bar da Cachacaria
There in Malakoff towerI saw a light go onOn the Rua do Bom JesusI tuned my rebecaI went to the Rua da MoedaTo play with much harmonyI went to the Rua da MoedaTo play with much harmonyIt’s crowded there every dayUntil dawnDrinking lots of cachacaAt the Cachacaria Bar.
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HANDOUT 6.2“Samba de Dez Linhas” LISTENING GUIDE
Time Event Description0:00 Introduction
1:04 Solo
1:18 Chorus
1:23 Solo voice
1:39 Instrumental section
2:12 Solo
2:27 Chorus
2:32 Solo
Instrumental
solo
Chorus
Solo
Instrumental
Coda Techno pop, electronic
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Handout 6.3“Samba de Dez Linhas” Instrumental Motifs