5.4 – Brazilian rhymthica – with Marco Pereira
SARAIVA
00:00 Brazilian rhythms – where does one start and where does the other end?
I take part in the ‘A Barca’ group and we have been to many places in this country that plays like that
[he plays a “groove” that transits amid current different divisions in the Brazilian rhythmica]
So sometimes I don’t know where samba, for example, starts or ends. [i]
MARCO PEREIRA
You’ve played a mix of several things.
You started playing a little like moda de viola. [i]
00:49 chula and samba de roda in Recôncavo Baiano
This thing of “rebeat” (between fingers “p´” and “i”) is typical of chula from Recôncavo Baiano.
SARAIVA
[follows the execution assuming the mentioned rhythm/gender division ]
To me it comes all mixed.
MARCO PEREIRA
That is thoroughly baiano.
02:06 Portuguese viola machete and the chula ponteado
[Marco Pereira talks about the origins of the samba de roda, in the fusion of the African rhythm and the “ponteado” from the viola braguesa (Portugal) and the vilheula (Spain) that are given a new meaning by means of the viola machete, typical of Bahia’s samba de roda]
03:34 a very Brazilian mix between the African and European music
03:58 the flexibility of the oral tradition x the clarity of the written tradition
05:11 how did you deal with the flexible nature of this material?
06:06 the local accents
07:15 the merge of information inherent to the urbanization process
07:29 the book Brazilian Rhythms
08:50 a guitar-player does not like to play groove
[plays the synthesis of “Jongo” that is presented in his book Ritmos Brasileiros (2007, p.36) [i]
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LINK with the idea “there is a polarity that takes place between the rhythm/gender affirmation (…) and the hybridization” presented in 6.1 – seeing doing it: “Jimbo no jazz”.
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“This statement is based on our researches. The caipira music is the largest umbrella of existing rhythms in the Brazilian music.” (VILELA, 2011, p.46)
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Subtitling and digitation were done from the recording carried out for this research.