AN INTRODUCTION TO CAPOEIRA ANGOLA (II)

THE MUSIC

“Where I come from we say that rhythm is the soul of life because the whole universe revolves around rhythm, and when we get out of rhythm, that is when we get into trouble…” - Babatunde Olatunji

For Capoeira Angola, unlike many games or martial arts, music is essential to play; without it the game is unimaginable. In this the art resembles many cultural manifestations of African origin, dependent on the intimate relation between music, movement, play, and spirituality. The music of Capoeira Angola is so important in part because it helps to integrate the body and mind of the capoeirista, and also because it contributes to the playful character of the game. Not only the speed, quality and intensity of the music determine the timing and movement of the players; the aesthetic demand that a player move in relation to the rhythm also prevents the art from becoming simplistic or purely aggressive. A good player must learn to balance the aesthetic and athletic, the artistic and combative aspects of the art simultaneously. Powered by the fusion of rhythms summoned by the musicians, moving to what is simultaneously a rhythm of dance and war, the capoeirista can often find unrecognized resources in her or himself or have experiences which can only be described as spiritual.

To say that the art is profound does not imply that it is not playful. On the contrary, it is exactly the blend of intimacy and respect, humour and gravity, which can make the roda (the ring in which Capoeira Angola is played) a place where the everyday and the spiritual can come together. For this reason, the roda is entered with joy and laughter, but also with profound reverence. It is music that, in so many cultures of Africa and the African diaspora, brings together the natural and supernatural, providing a common language through which gods and humans can communicate. The instruments and music of the roda are a link to religious traditions, not just musical accompaniment for the game.

Music also assures a relationship between the players and the audience. Through the music, the leader of the orchestra can help preserve the correct relationship between the players, prevent the contest from spinning out of control, and simultaneously add energy to the interplay. Sometimes this is done overtly in the lyrics of the songs – the singers may cajole, criticize, mock, praise, or challenge the players. Always, however, it is the unbreakable link between the music and the movement of the players – rhythm – that creates and maintains the roda.

THE ORCHESTRA

The instruments now used in Capoeira Angola, although mainly of African origin, were not wedded intimately to capoeira before the art’s arrival in Brazil. The traditional orchestra of a roda of Capoeira Angola consists of three berimbaus of different pitches, two pandeiros (tambourines), one agogô (double bell), a reco-reco (a notched bamboo scraper), and an atabaque (tall drum). The orchestra forms one side of the roda of Capoeira Angola, all the musicians arranged in a line.

The most important instrument in the orchestra, the musical heart of Capoeira Angola, is the berimbau, a musical bow with a single string. The instrument is constructed of a verga, a wooden bow preferably of beriba wood; arame, a steel string pulled from the sidewall of a car tire and strung on the verga; and a cabaça or hollowed gourd tied on the bow as a resonance chamber. The entire instrument is hung from the little finger, and a dobrão, a large copper coin, is held in the same hand to change the pitch of the string. To produce sound the string is struck with a thin piece of wood, held in the other hand, called a baqueta. A small wicker rattle, the caxixi, held in the same hand as the baqueta, makes the instrument complete, providing accompaniment to the alternating tones struck on the bow.

The three berimbaus in the orchestra are tuned to different pitches. The berimbau gunga (often referred to simply as the gunga), with the largest cabaça and deepest tone, holds the principal rhythm in a way similar to a bass guitar. It is the instrument which anchors the orchestra rhythmically and spatially, designating the place from which the players will enter the roda to begin playing. The berimbau médio also helps to maintain the rhythm, playing a rhythm which inverts that played on the gunga. The berimbau viola, with the smallest cabaça and highest pitch, performs improvised ornamentations or variations on the basic rhythm.

The gunga is usually in the hands of the mestre who is directing the roda. The choice of rhythm, or toque, made by the mestre will determine the character of the game and players recognize these basic rhythms in spite of variations improvised by the musicians. Reco-reco, agogô, pandeiro, berimbaus (gunga, médio, and viola), pandeiro, and atabaque, in this order from left to right, are in the position to start the roda of Capoeira Angola. The instruments must be in the hands of able musicians, as a strong, inspiring rhythm is absolutely necessary for the players to fully demonstrate their artistic ability in the roda.

TRADITIONAL RHYTHMS (Toques)

Whole books could be written about the different rhythms applied in the Capoeira Angola roda. Names and styles tend to vary between capoeira academics. Here we are presenting the most traditional toques.

The tempo, or speed, of a toque is determined by the musicians, especially the musicians playing the gunga. In general, the tempo of the music will increase as the game continues and the musicians urge the players to play harder. The tempo, however, is not the most important element that distinguishes one toque from another.

A toque is a pattern of notes played on the berimbau. The player uses the dobrao to alter the length of the string and produce one of three different tones: a low tone with the chord open, a high tone with the dobrao against the string, and a buzzing tone in which the dobrao is used to dampen the string’s vibration. The basic toque Angola, for example, is two quick strikes against a dampened string, followed by a low note, a high note, and a one-count rest. It might be spoken “tch-tch dong ding (rest).” The basic pattern for each toque can be heard clearly at the beginning of each example, as the gunga plays alone to set the toque and the starting tempo for the entire ensemble.
A musician playing the berimbau must be able to vary the cycle, improvising other rhythmic phrases that do not break the integrity of the toque. An excellent musician will respond to the other instruments, creating complex patterns and unexpected relations between them, and will, at the same time, respond to the game, even going so far as to convey to a player who is extremely sensitive to the music when and how to move.

When the musician playing the gunga either decides to change the toque or wants to get the players’ attention, he or she will signal by striking a steady stream of open notes on the berimbau. The players should respond instantly to this, recognizing that the toque is changing and their game similarly should change, or returning to the “foot of the berimbau” to end the game or receive instructions.

Angola

Angola is the traditional rhythm which begins the roda.

São Bento Grande

São Bento Pequeno

São Bento Pequeno and São Bento Grande are slightly faster than the toque Angola and are played later in the roda, when the game becomes more intense.

Iúna

Iúna is a rhythm created by Mestre Bimba to be used for games between advanced students.

Santa Maria

Cavalaria (Aviso)

Cavalaria is traditionally played to warn of a raid by the mounted cavalry or police, who often attempted to catch capoeiristas and supress various Afro-Brazilian cultural expressions which were believed to threaten authority. The rhythm imitates the hoof beats of the approaching horses.

Jogo de Dentro

Jogo de Dentro is one of the fastest and most beautiful rhythms in Capoeira Angola. During this toque, capoeiristas attempt to demonstrate their best game, playing as low to the ground and as close to each other as possible.

{You can listen to the music HERE}

THE MUSIC

“Where I come from we say that rhythm is the soul of life because the whole universe revolves around rhythm, and when we get out of rhythm, that is when we get into trouble…” - Babatunde Olatunji

For Capoeira Angola, unlike many games or martial arts, music is essential to play; without it the game is unimaginable. In this the art resembles many cultural manifestations of African origin, dependent on the intimate relation between music, movement, play, and spirituality. The music of Capoeira Angola is so important in part because it helps to integrate the body and mind of the capoeirista, and also because it contributes to the playful character of the game. Not only the speed, quality and intensity of the music determine the timing and movement of the players; the aesthetic demand that a player move in relation to the rhythm also prevents the art from becoming simplistic or purely aggressive. A good player must learn to balance the aesthetic and athletic, the artistic and combative aspects of the art simultaneously. Powered by the fusion of rhythms summoned by the musicians, moving to what is simultaneously a rhythm of dance and war, the capoeirista can often find unrecognized resources in her or himself or have experiences which can only be described as spiritual.

To say that the art is profound does not imply that it is not playful. On the contrary, it is exactly the blend of intimacy and respect, humour and gravity, which can make the roda (the ring in which Capoeira Angola is played) a place where the everyday and the spiritual can come together. For this reason, the roda is entered with joy and laughter, but also with profound reverence. It is music that, in so many cultures of Africa and the African diaspora, brings together the natural and supernatural, providing a common language through which gods and humans can communicate. The instruments and music of the roda are a link to religious traditions, not just musical accompaniment for the game.

Music also assures a relationship between the players and the audience. Through the music, the leader of the orchestra can help preserve the correct relationship between the players, prevent the contest from spinning out of control, and simultaneously add energy to the interplay. Sometimes this is done overtly in the lyrics of the songs – the singers may cajole, criticize, mock, praise, or challenge the players. Always, however, it is the unbreakable link between the music and the movement of the players – rhythm – that creates and maintains the roda.

THE ORCHESTRA

The instruments now used in Capoeira Angola, although mainly of African origin, were not wedded intimately to capoeira before the art’s arrival in Brazil. The traditional orchestra of a roda of Capoeira Angola consists of three berimbaus of different pitches, two pandeiros (tambourines), one agogô (double bell), a reco-reco (a notched bamboo scraper), and an atabaque (tall drum). The orchestra forms one side of the roda of Capoeira Angola, all the musicians arranged in a line.

The most important instrument in the orchestra, the musical heart of Capoeira Angola, is the berimbau, a musical bow with a single string. The instrument is constructed of a verga, a wooden bow preferably of beriba wood; arame, a steel string pulled from the sidewall of a car tire and strung on the verga; and a cabaça or hollowed gourd tied on the bow as a resonance chamber. The entire instrument is hung from the little finger, and a dobrão, a large copper coin, is held in the same hand to change the pitch of the string. To produce sound the string is struck with a thin piece of wood, held in the other hand, called a baqueta. A small wicker rattle, the caxixi, held in the same hand as the baqueta, makes the instrument complete, providing accompaniment to the alternating tones struck on the bow.

The three berimbaus in the orchestra are tuned to different pitches. The berimbau gunga (often referred to simply as the gunga), with the largest cabaça and deepest tone, holds the principal rhythm in a way similar to a bass guitar. It is the instrument which anchors the orchestra rhythmically and spatially, designating the place from which the players will enter the roda to begin playing. The berimbau médio also helps to maintain the rhythm, playing a rhythm which inverts that played on the gunga. The berimbau viola, with the smallest cabaça and highest pitch, performs improvised ornamentations or variations on the basic rhythm.

The gunga is usually in the hands of the mestre who is directing the roda. The choice of rhythm, or toque, made by the mestre will determine the character of the game and players recognize these basic rhythms in spite of variations improvised by the musicians. Reco-reco, agogô, pandeiro, berimbaus (gunga, médio, and viola), pandeiro, and atabaque, in this order from left to right, are in the position to start the roda of Capoeira Angola. The instruments must be in the hands of able musicians, as a strong, inspiring rhythm is absolutely necessary for the players to fully demonstrate their artistic ability in the roda.

TRADITIONAL RHYTHMS (Toques)

Whole books could be written about the different rhythms applied in the Capoeira Angola roda. Names and styles tend to vary between capoeira academics. Here we are presenting the most traditional toques.

The tempo, or speed, of a toque is determined by the musicians, especially the musicians playing the gunga. In general, the tempo of the music will increase as the game continues and the musicians urge the players to play harder. The tempo, however, is not the most important element that distinguishes one toque from another.

A toque is a pattern of notes played on the berimbau. The player uses the dobrao to alter the length of the string and produce one of three different tones: a low tone with the chord open, a high tone with the dobrao against the string, and a buzzing tone in which the dobrao is used to dampen the string’s vibration. The basic toque Angola, for example, is two quick strikes against a dampened string, followed by a low note, a high note, and a one-count rest. It might be spoken “tch-tch dong ding (rest).” The basic pattern for each toque can be heard clearly at the beginning of each example, as the gunga plays alone to set the toque and the starting tempo for the entire ensemble.
A musician playing the berimbau must be able to vary the cycle, improvising other rhythmic phrases that do not break the integrity of the toque. An excellent musician will respond to the other instruments, creating complex patterns and unexpected relations between them, and will, at the same time, respond to the game, even going so far as to convey to a player who is extremely sensitive to the music when and how to move.

When the musician playing the gunga either decides to change the toque or wants to get the players’ attention, he or she will signal by striking a steady stream of open notes on the berimbau. The players should respond instantly to this, recognizing that the toque is changing and their game similarly should change, or returning to the “foot of the berimbau” to end the game or receive instructions.

Angola

Angola is the traditional rhythm which begins the roda.

São Bento Grande

São Bento Pequeno

São Bento Pequeno and São Bento Grande are slightly faster than the toque Angola and are played later in the roda, when the game becomes more intense.

Iúna

Iúna is a rhythm created by Mestre Bimba to be used for games between advanced students.

Santa Maria

Cavalaria (Aviso)

Cavalaria is traditionally played to warn of a raid by the mounted cavalry or police, who often attempted to catch capoeiristas and supress various Afro-Brazilian cultural expressions which were believed to threaten authority. The rhythm imitates the hoof beats of the approaching horses.

Jogo de Dentro

Jogo de Dentro is one of the fastest and most beautiful rhythms in Capoeira Angola. During this toque, capoeiristas attempt to demonstrate their best game, playing as low to the ground and as close to each other as possible.

{You can listen to the music HERE}