Gilson de Assis – Percussionist

Kontakt: Lierstr. 11b, D-80639 München
Fon/Fax: ++49-89-178 54 80
Mail: perc@gilsondeassis.de

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This site in German
 
"The Brazilian Pandeiro" with DVD !!!
Pandeiro

This book now combines the most varied traditional as well as modern rhythms, their variations and modifications of my own.

The first chapter provides explanatory words about the chôro and the fundamental part the pandeiro plays in this musical style typical of Rio de Janeiro. There is no doubt about the fact that this style allows great freedom to the use of the pandeiro. To most famous pandeiro players but also to myself, chôro has proved to be a vast field of invaluable learning experience possibilities. This style joins together the classical, or "standard", rhythm, the maxixe, the polca and the valsa.

The second chapter is dedicated to the samba, a typical Brazilian rhythm, and the possibilities of accompanying the different types and variations of this style on the pandeiro: samba, samba-canção, samba partido-alto, samba de roda and calango. Moreover, this chapter also illustrates how to accompany the well-known bossa-nova on this instrument.

The third chapter deals with the rhythms found in the northeast of the country, where the pandeiro is used with many popular styles, such as the côco, frevo, xote and for the accompaniment of the berimbau rhythms played at capoeira events.

The fourth chapter contains adaptations of rhythms originally not played on the pandeiro: baião, forró, barravento, reggae, samba da Bahia, maracatu, ijexá and congo. These variations elaborated by myself sound very interesting and may be of use to any musician acting as the sole percussionist in an ensemble.

The fifth chapter describes non-traditional, modern rhythms which are frequently found in today's popular Brazilian music: samba-funk, funk, drum'n'bass and trip-hop. Executing odd rhythms on the pandeiro - a very exciting possibility of using this instrument - is presented in the sixth chapter. Yet, neither traditionally-minded musicians nor those dedicated to so-called "street music" make use of it; it is especially the composers of urbanized music, the Musica Popular Brasileira, who have taken up this way of employing the pandeiro. The examples offered here comprise the classical accompaniment of chôro, samba, côco, frevo, samba da Bahia, maracatu, funk (all of them notated in 3/4, 5/4, 7/4, 5/8 and 7/8) as well as baravento (notated in 9/8 and 14/8).

The sixth chapter unites the pandeiro and the human voice, with the latter mainly taking over the part of a second percussion instrument: Agogo patterns will be vocalized accompanied by classical chôro, samba, samba da Bahia, côco or barravento rhythms.

Finally, the last chapter presents short compositions for two pandeiros, agogo, tamborim and triangle. The accompanying DVD features an audio track for this chapter

 
 
Atabaque, The Brazilian Conga
Cover Method Atabaque, The Brazilian Conga
German, English, Spanish
© 2006 advance music
 
Contents: Samba de Caboclo /Congo /Ijexá / Barravento /Tambor de Crioula, Jongo, Batuque Paulista, Carimbó, Samba de Roda, Bandas de Congo, Toques of Maculelê and Capoeira /Rhythms and stiles adapted to the Conga – Samba Partido-Alto, Opanijé, Calango, Baião, Xote, Frevo, Maracatu de Baque Virado and Samba Reggae /Timbau in the Blocos Afro – Intros and Grooves /"Modern" rhythms – Samba-Funk, Drum'n'bass, Funk (US & Rio de Janeiro), Trip-Hop /Odd rhythms /Coordination exercises for 2 and 3 Congas / Duets and Quartets for Congas with Agogô and Surdo accompaniment
 
From the Foreword
. . . This instructional book, which is designed for beginners as well as for professionals, does not only present traditional rhythms to be played on the Brazilian atabaque and its related instruments (Candongueiro, Tambú, Crivador, Timbau etc.) but also "modern" rhythms such as funk, trip-hop and other popular music rhythms which are presently en vogue in Brazilian music.
Furthermore, you will find versions for one, two or three congas (played by one single musician), various duets (sometimes with other instruments such as the Surdo and Agogô as accompanying instruments) and chapters on independent exercises and odd rhythms.

To simplify the understanding of the rhythms and the exercises, a CD is included . . .

 
Score examples
Samba de Caboclo
Ensemble: Lê, Rumpi, Rum & Agogô
Sample 1
Samba de Caboclo: Standard patterns 122 KB
Sample 2
Melancia: Conga-Duo 141 KB
 
Brazilian Percussion
Cover Method Brazilian Percussion
German, English, Japanese
© 2002 advance music
 
Contents: Samba Schools in Rio de Janeiro/ Samba-Reggae in Bahia/ Maracatu de Baque Virado in Pernambuco/ Rhythms for Atabaque/ Berimbau rhythms (toques)/ Rhythms from the Northeast/ Bumba-meu-boi in Maranhão/ Exercises for Coordination and Independence, etc.
 
From the Foreword
This book on Brazilian percussion presents a selection of my current research – based on experience in the field as well as study of the literature. It gives insight into the rich musical and cultural history of the Brazilian people and also reflects my personal and professional experience over many years as a percussionist . . .
Most of the rhythms introduced here are so-called Afro-Brazilian rhythms (Chapters 1–5). They developed exclusively in Brazil, while maintaining their strong African roots. The other rhythms (Chapters 6 and 7) have clear European origins, yet are strongly imbued with unmistakable African elements . . .
The teaching method has 141 pages and many photographs.
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Excerpt from Chapter 2 – "Samba-Reggae in Bahia"
In the beginning of the 1970s, inspired by the "black soul" wave (The Jackson Five and James Brown, among others) in North America, young black Brazilians also began to invent new ways of demonstrating "black awareness" through hair style, clothing, dance and of course music. This movement called negritude developed with the greatest intensity in Salvador, the capital of Bahia, especially in the district of Liberdade on the outskirts of the city.

With the founding of the bloco-afro Ilê-Aiyê (bloco = Carnaval group) black Brazilians developed a new consciousness on the political, musical and social-cultural level. The blocos, which arose directly out of the social reality of Bahia, made it their goal to rediscover the values of the black race and Afro-Brazilian culture and to integrate them anew. The name "Ilê-Aiyê" stems from Yorubá (an African language) and means "House of Life", strikingly reflecting the spirit of negritude . . .

 
Score examples
Samba Ilê-Aiyê
Sample 1
Repique Ilê-Aiyê 364 KB
Sample 2
Ensemble Ilê-Aiyê 541 KB
Press review to "BRAZILIAN CONGA"
"An extraordinary book dedicated to the rich fund of a traditional drum, linking the ethnological context to the world of modern music ... High standard, competent, challenging."
Sticks
Press review to "BRAZILIAN PERCUSSION"
"This teaching method was written with love for detail and accuracy . . . To be strongly recommended, not only for the directors but also for the players in samba groups."
Percussion Newsletter

"This book gives broad information on the subject, without being too specific . . . Those, who are interested in authentic Brazilian percussion, will learn a lot of interesting things."
Drums and Percussion

"'Brazilian Percussion' is a serious textbook filled with concentrated contents which in a very practical way stimulate the appetite for the diversity of the essential styles of the Afro-Brazilian groove culture. Very recommendable."
Sticks

To listen to the sound samples you need an appropriate software.
You may use the free download of the Real Player.
If you want to listen to a sample several times,
store it on your hard disc, otherwise it has to be loaded repeatedly.
 
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