Search results
Results From The WOW.Com Content Network
In capoeira, the berimbau commands the roda, the circle where capoeiristas engage in the game, and by extension, the game itself. [17] The music required from the berimbau is essentially rhythmic. Most of the patterns, or toques, derive from a single basic structure. Capoeira musicians produce many variations upon the basic pattern.
Juvenal de Holanda Vasconcelos, known as Naná Vasconcelos (2 August 1944 – 9 March 2016), [1] was a Brazilian percussionist, vocalist and berimbau player, notable for his work as a solo artist on over two dozen albums, and as a backing musician with Pat Metheny, Don Cherry, Jan Garbarek, Egberto Gismonti, Gato Barbieri, and Milton Nascimento.
Capoeira music is the traditional musical accompaniment used in Afro-Brazilian art capoeira, featuring instruments like berimbau, pandeiro, atabaque, agogô, and reco-reco. The music plays a crucial role in capoeira roda , setting the style the energy of a game.
In Africa, the musical bow is usually played by a solo performer. In capoeira, the berimbau is played as part of the roda, a musical group standing in a circle, in the centre of which the capoeiristas perform or play. The Appalachian mouth-bow can be played amplified in old-time music jams.
Mestre Leopoldina. Demerval Lopes de Lacerda (1933–2007), known as Mestre Leopoldina, was a Brazilian velha guarda (old guard) capoeira mestre.He was known for his quick and unique style of playing capoeira, as well as for his mastery of the berimbau and for the songs that he composed. [1]
Gilberto's vocals on "Berimbau" were sampled by Cut Chemist in his song "The Garden". [25] Her recording of "Once I Loved" was featured in the 2007 film Juno. [26] On Basia's 1987 debut album, Time and Tide, the track "Astrud" is a tribute to her idol Gilberto. [27] [28] Later in her life, Gilberto was an advocate of animal rights.
In the game of capoeira, toques are the rhythms played on the berimbau. Many toques are associated with a specific game (i.e. style and speed of play), although organizations differ on how to play each toque. Capoeira toques have their roots in African rhythmic music, which was modified and further developed among the slaves of Brazil.
He had a unique characteristic of playing the berimbau, an instrument he held in his right hand and played with the vaqueta in his left hand, keeping the berimbau at chest height. [1] During his presentations, Mestre Canjiquinha didn't limit himself to showcasing capoeira but also incorporated other Afro-Brazilian dances, including maculelê ...