Talk:Capoeira music

message: Hi, I don't know if this page belongs on Wikipedia or not, so I welcome any opinions to the contrary. I thought, however, that the music section of Capoeira was lacking without a few example songs.
Feel free to add more songs. Try to keep the list alphabetized and the formatting the same throughout. If when you open the edit page and it tells you that the page has become too large, post here. This will never pretend to be an exhaustive list, however, so the page should not be allowed to get too big.
--Asbestos 13:00, 8 Nov 2004 (UTC)
thread_title:  Page Creation 

message: I reworked this page to include more specific information about the music. I also got rid of the toques section and linked it to the berimbau page because there is much more info there. If anyone has anything else to add, go for it.
Jmckaskle 19:41, 24 August 2007 (UTC)
thread_title:  Cleaned up 

message: I've added more on melody (both vocal melody and berimbau melody) and information about syncopation and improvisation in the music and how the supporting instruments work together to lay a rhythmic foundation.
Jmckaskle 01:55, 28 August 2007 (UTC)
replies: text: Regarding the 'NB' section at the bottom, in particular the use of multiple atabaques - In my group, Cordão de Ouro, we usually use 2 atabaques in our rodas. I've never been to any other groups' rodas, but I think we should get a source about the 'standard' bateria (for lack of a better term). Richard Jackson 14:12, 14 September 2007 (UTC)
replies: text:  Will do. Thanks for the feed back. I'll look for sources to back up the blanket statement. Two atabaques in a roda is a rarity in capoeira, but not unheard of. Where is your group located? Jmckaskle (talk) 20:07, 19 December 2007 (UTC)

text:  The use of the word toada is a bit problematic. Ana Paula Rezende Macedo has an article called, "Capoeira Angola: Historica, Persistencias E Transformacoes," that gives an example of a toada in the context of capoeira, however, doesn't go in to say exactly what characterizes a toada as being different from any other sung musical form. Where as Lee Sun Joo, in the thesis, "A Study of Nationalistic Expression of the Choro in Heitor Villa-Lobos's Chamber Works with Bassoon," describes a toada as sung in parallel thirds, and related closely to the European music (specifically, the Spanish Tonada) and of flexible form and rhythm and generally of a romantic nature. Other sources say the toada is religious in content, other sources link it to dance music in Minas Gerais. I don't know if it is extemporized or composed, or if there are different forms of it (which is probably most likely) and if toada isn't being used generically like we might use the word "tune," which other sources hint at, so that a corrido, ladainha, and quadra are all examples of a toada.Jmckaskle (talk) 19:02, 26 February 2009 (UTC)

text: You have a good point. I addressed this concept, though unfortunately somewhat vaguely, in the syncopation section of the article. In a sense, there is no true 1, as 1 and 3 are interchangeable and depend on the lyrics of the corrido to determine where we feel the toque begins, ie. where we feel 1 falls in the toque. And that can still be subjective. This is true for just about any African-derived musical form based on short, repeating rhythmic cells. A good idea would be to address this in the article more rigorously. Jmckaskle (talk) 18:23, 26 February 2009 (UTC)
thread_title:  Melody , syncopation, improvisation 

message: This counts are JUST SO WRONG, both the person who posted the first counts, and also the one who is trying to correct him. What you are calling BEATS, as the high sound, played in the Angola rhythm, are actually OFFBEATS. The correct signature for angola goes as such: [1 2 and 3 4 and], where:
1 = silence or caxixi
2 = low sound (dom)
and = high sound (dim)
3 = silence again
4 = low sound again (dom)
and = high sound again (dim)
Ps- note im not writng the (TCH TCH) sound of the coin on the wire, which are, respectivly, on the the third and fourth 1/4 notes of beat 1 and 3. Im keeping only the two main sounds (dom dim)
Im writing as an active capoeirista, graduated Mestre by Mestre Marrom, from Rio, with a long career and experience with all the big mestres in Brazil, from different styles, such as mestre Peixinho, Suassuna, Boca Rica, Bigodinho etc.
As a capoeirista-musician I produced, recorded and played in ground-breaking capoeira cds such as Marrom capoeira, Mestre Boca Rica e Bigodinho and Mestre Claudio from Feira de Santana and Felipe de Santo Amaro.
I developed a project called MUSICAPOEIRA, dedicated to capoeira music. You can get an ideia here: https://www.facebook.com/groups/ferraduramusicapoeira/
I suggest you to read RAMIRO MUSSOTO's definitive work on berimbau, with the right notation:
G934h Guerra, Sérgio Garcia Hereros / Sérgio Garcia Guerra. – – Salvador: Edições Maianga, 2009. 260 p. : il. ; 30 x 30cm + 1 CD-ROM, com músicas captadas nas províncias angolanas do Namibe e Cunene. Textos em português e inglês.  1. Fotografias. 2. Hereros (Povo africano) – Obras ilustradas. 3. Etnologia - Hereros (Povo africano) – Obras ilustradas. I. Título. CDD: 779
If you just take time to listen to capoeira songs, you will see that every 4/4 bar repeats the angola pattern twice, also in MPB its the same. Check Gilberto Gils Parabolicamara: http://www.youtube.com/watch?v=D3e1S2UGHA0
Well, hope it helps and you edit the article. Im happy to respond to any email: omriferra@gmail.com
OMRI FERRADURA BREDA
Omriferra (talk) 19:59, 20 July 2013 (UTC)
replies: text: You have a good point. I addressed this concept, though unfortunately somewhat vaguely, in the syncopation section of the article. In a sense, there is no true 1, as 1 and 3 are interchangeable and depend on the lyrics of the corrido to determine where we feel the toque begins, ie. where we feel 1 falls in the toque. And that can still be subjective. This is true for just about any African-derived musical form based on short, repeating rhythmic cells. A good idea would be to address this in the article more rigorously. Jmckaskle (talk) 18:23, 26 February 2009 (UTC)
thread_title:  Counts May Be Wrong 

message: What is the source for the notation for the Angola and São Bento Grande toques? Using half notes in place of quarter notes is confusing for anyone who knows how to read music. If no one objects, I'll write out them out in proper notation. Focomoso (talk) 06:45, 22 April 2008 (UTC)
replies: text: As of right now, there is no standard for berimbau notation.  The half notes and quarter notes were not refering to note duration, but to whether that particular note was muted or unmuted (opened or closed): Half note for open, quarter note for closed. The timeline underneath the notes indicate duration. The idea is to present a notation packing as much information as possible with as few symbols as possible, be presented clearly, and hopefully aesthetically. Other notations include purely ASCII representation (including in printed notation), use of various different marks over and under the notes to indicate performance stye, and even double staff notation. A notation legend here would clear things up, but was included in the capoeira toques page. Jmckaskle (talk) 18:47, 24 February 2009 (UTC)
thread_title:  Notation 

message: Hi.
I'm making a recommendation/request to mention a relevant usage the Capoeira Music in the Heavy Metal. The justification is the exemplification of alternative usages of the Capoeira Music.
It could be listed as "Capoeira in Popular Culture"; although (for my example below) it seems more natural to include list it as an example of "Folk Metal" but this one is commonly accepted to refer to Europe heavy metal: 
"Folk metal is a sub-genre of heavy metal music that developed in Europe during the 1990s. As the name suggests, the genre is a fusion of heavy metal with traditional folk music."
The most notable example of Capoeira in Heavy Metal comes from the Brazilian Heavy Metal Band "Sepultura", Capoeira is sometimes included in their songs adding an very distinctive tone that identifies the band comes from Brazil, for example: Attitude (Sepultura Song).
Thanks.  —Preceding unsigned comment added by 187.179.71.200 (talk) 02:48, 8 May 2011 (UTC)
thread_title:  Suggestion: Capoeira in Popular Culture (heavy metal) 

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thread_title:  External links modified