Much appreciated! also I'll be looking for some of the rhythmic devices used to enter on instrument such as Tambourim, Cavaquhino, etc. I know about three already and they make it more graceful to enter or re-enter using the proper placement of the syncopated part of what seems to be based off of Partido Alto?
@@TiqueO6 The two entrance patterns for what I refer to as the “samba time-line” (known in Rio as “teleco-teco”) that I have shown on the channel so far are: 1) playing a stroke on beat 1 the first time only (as I demonstrate in this video); and 2) playing 4 eighth notes (1 + 2 +) in the first cycle only and then continuing with the pattern starting on beat 3 (as I demonstrate in the 4 Teleco-Tecos video). These two entrance patterns can be used for any instrument that plays the time-line such as the cavaquinho, tamborim, and reco-reco. There are other entrance patterns, but these are two of the most common ones in my experience. For what it’s worth, I see the partido-alto pattern that I refer to on the channel as Partido-Alto A2 as a paired-down version of the samba time-line except that it has a stroke on beat 2 (which does not occur in the time-line). Hope this helps!
Thanks for sharing Phillip! I'm always looking for inspiration from the Brazilian and Afro - Cuban rhymacultures for my drum set playing. I will listen during my next practice session.
7:00 very important moment!! That's the proper syncopation around beat One and landing on beat 3. Thank you for pointing it out. Some folks will have a hard time keeping each beat while singing or playing the pattern, a metronome would help those folks. Also at 8:25 looks like you're showing the entrance 'tricks' which work for basically all the instruments so thanks much for showing those too! So many westerners have learned the patterns for samba (based off of Partido Alto, it's said) backwards 'cause it's easier but it then will conflict with many in not most melodies and chord-changes in brazilian music that is Samba oriented.
Thanks for your comment! It may take some practice and reorientation to hear beat one on the offbeat side of the samba time-line pattern, but that’s essential to do because, as you correctly point out (and as I’ve mentioned numerous times on the channel) that’s the beginning of the phrase in most contemporary traditional samba.
@@bob6693 To me, this is just another example of what makes the samba tradition so rich and diverse. I love both kinds of reco, which have different timbres, tend to be played in different contexts, and these days tend to serve different functions in the ensemble (the metal one to highlight the samba time-line and the wooden one to play the subdivisions with different accents and variations). Thanks for your comment.
Thanks for the counting at 12:50 ! Many will find that also quite revealing!
Thanks so much!🙏😊
Much appreciated! also I'll be looking for some of the rhythmic devices used to enter on instrument such as Tambourim, Cavaquhino, etc. I know about three already and they make it more graceful to enter or re-enter using the proper placement of the syncopated part of what seems to be based off of Partido Alto?
@@TiqueO6 The two entrance patterns for what I refer to as the “samba time-line” (known in Rio as “teleco-teco”) that I have shown on the channel so far are: 1) playing a stroke on beat 1 the first time only (as I demonstrate in this video); and 2) playing 4 eighth notes (1 + 2 +) in the first cycle only and then continuing with the pattern starting on beat 3 (as I demonstrate in the 4 Teleco-Tecos video). These two entrance patterns can be used for any instrument that plays the time-line such as the cavaquinho, tamborim, and reco-reco. There are other entrance patterns, but these are two of the most common ones in my experience. For what it’s worth, I see the partido-alto pattern that I refer to on the channel as Partido-Alto A2 as a paired-down version of the samba time-line except that it has a stroke on beat 2 (which does not occur in the time-line). Hope this helps!
Thanks for sharing Phillip! I'm always looking for inspiration from the Brazilian and Afro - Cuban rhymacultures for my drum set playing. I will listen during my next practice session.
Thanks for your kind words, Brian! So glad you enjoyed it. If there's something you'd like to see explored on the channel, please let me know.
7:00 very important moment!! That's the proper syncopation around beat One and landing on beat 3. Thank you for pointing it out. Some folks will have a hard time keeping each beat while singing or playing the pattern, a metronome would help those folks. Also at 8:25 looks like you're showing the entrance 'tricks' which work for basically all the instruments so thanks much for showing those too! So many westerners have learned the patterns for samba (based off of Partido Alto, it's said) backwards 'cause it's easier but it then will conflict with many in not most melodies and chord-changes in brazilian music that is Samba oriented.
Thanks for your comment! It may take some practice and reorientation to hear beat one on the offbeat side of the samba time-line pattern, but that’s essential to do because, as you correctly point out (and as I’ve mentioned numerous times on the channel) that’s the beginning of the phrase in most contemporary traditional samba.
yes and thank you so much for pointing it out in your video! I look forward to looking at more of your channel offerings.
From what i've heard i don't know why the metal one is used or made. The bamboo version just sounds so much better and warmer.
@@bob6693 To me, this is just another example of what makes the samba tradition so rich and diverse. I love both kinds of reco, which have different timbres, tend to be played in different contexts, and these days tend to serve different functions in the ensemble (the metal one to highlight the samba time-line and the wooden one to play the subdivisions with different accents and variations). Thanks for your comment.