Відео

If you play the surdo with 2 mallets for any length of time, I would suggest wearing the drum flat with a strap around the waist as they do in the blocos afro. This way your non-dominant arm isn't raised more than it should be (typically surdo mallets are held with matched grip). It sounds like you are doing this already. So, what exactly is happening when you parade that's causing you problems?

@@LearnToPlaySamba thanks for the reply! As soon as I start to walk on parade, surdo swings from side to side.have tried having extra waist strap on other lugs as well as harness but it tilts drum head too far forwards into belly area an unbalanced way. Have tried having surdo positioned high so it doesn’t bang on knees but I hunch to compensate for surdo position… have tried having it slung really low olodum style which works but only if you can do the waddle and step in time to the beat clamping surdo with thighs…but sometimes parade pace doesn’t accommodate. It’s probably a problem specific to short people and I guess you have to suffer for your art 😂

@@ellenmeilee I would have to see what you’re doing to give you an assessment. Feel free to email me at Info@SambaNewYork.com, and we can take it from there.

Yes, this was your request! Thanks so much for your kind words. You are welcome to play with us whenever our Bateria is in session.

Yes, they’re beautiful sticks. They were made by and given to me by my friend, Ken Campagna of Brazilian Drum Shop, who is sadly no longer with us. Although these sticks are no longer available, you should be able to find other ones online.

It’s a practice chocalho with rubber jingles by Contemporânea. I highly recommend it!

Sure, I can make a video on that. Stay tuned.😊

Thanks for your great question, Pablo! The exercise I would suggest is to play carreteiro along with a metronome for one minute straight every day (or at least 5-6 days a week). On the first day, start at a very comfortable tempo, whatever that is for you. Then each day, move the speed up by 2 BPMs. So, if on day one you play at 100 BPM, on day two go to 102, on day three to 104, and so on. As you get faster and faster, you may need to stay at a certain BPM for longer than one day, or you may need to slow the metronome back down again on certain days. That's OK. It's all part of the process. Practicing along with samba-enredos at different speeds is also a great tool. No matter which technique you choose, it is possible to play as fast as they do in Rio's samba schools. It just takes consistent practice over time. Let me know how it goes.🙂

And yes, I have played tamborim with fast baterias in Rio in the past. I agree that 2x1 is a lot easier at higher speeds, but any technique is possible. Many players in Rio use 3x1 these days, even in the faster baterias. So, whatever technique you choose -- they're all great and valid -- consistent practice is the key. If I can help in any way, just let me know.

Legal! É muito bom, né?

Hi John, thanks so much for your positive words! I'm so glad you enjoy my teaching style and am thrilled that my videos are helping you. I am also available for private coaching online if needed. Best wishes with the group, and please get in touch when you come down to New York.

Samba New York’s original caixa pattern, which I created 17 years ago. Check it out here: ua-cam.com/users/shortsmRENy0nGGyE?si=sIMJAdVxs54dk4FF

Here’s the version of the pattern we play now: ua-cam.com/video/z_TvtLVAayM/v-deo.htmlsi=oE3h1y7yQV66XaBD

Thanks, Ellen!😊

Thanks, Hans! That slightly halting 16th note rhythm is known as “carreteiro” (literally, “trucker”), especially when it’s played on the tamborim, but the term can be applied to that rhythm played on other samba instruments, too. To get that feel on any instrument, I suggest delaying the 2nd note so that it is played closer to the 3rd note, and then anticipating the 4th note. Check out this video on pandeiro for a demonstration: ua-cam.com/video/YlqJmT7TiCw/v-deo.htmlsi=qzVjKzRG80yf8Wh_ Hope this helps!

@@LearnToPlaySamba Trucker! That's pretty cool. It does help, thank you very much. Keep on truckin'! 👍

@@hanspeterlillese2225 You're most welcome! Thanks for your participation on the channel.

So glad you’re enjoying the videos, Ellen! I will be glad to make a video on how to position samba drums with a strap. Stay tuned, and thanks for your participation on the channel.🙏

Thanks, Pablo! Congrats on playing with those blocos!👏

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 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.

Thanks for your comment, Miles! So glad you found the video helpful. Please let me know if there’s anything else you’d like to see explored on the channel.

Hi Pablo, each samba school has their own style, and I love them all.🙂

Thanks so much for your comment. I'm thrilled that you love the videos. Some of what you're requesting can be found here on the channel. I'll share some links below. I can make a video on starting and stopping the groove in samba-reggae. Hope this helps! ua-cam.com/video/pPojfXfzWwc/v-deo.htmlsi=xB_1KQhijv9IOp51 ua-cam.com/video/xMe_Cym018w/v-deo.htmlsi=rLlOLJEJZGl2CUW7 ua-cam.com/video/stZYoZfhY9k/v-deo.htmlsi=yEv-HoP9MrT8xL1C ua-cam.com/video/N4Zx1c7gLfw/v-deo.htmlsi=U1MfCmPB9Js5C2HR ua-cam.com/video/bYWNJ-YifeI/v-deo.htmlsi=OoFst9C_LvuH9Ayu

@@LearnToPlaySamba Thanks so Much Philip ! It's really not obvious that people help colleagues like this on the other side of the planet, we are in the same samba boat and I share your excellent videos with all my samba friends. Keep up the good work.

@@Always_help_when_you_can Thanks so much!🤝🤗

Hi Pablo, thanks for your comment. In my opinion, all the different techniques to play the carreteiro (3x1, 2x1, 1x1, etc.) are all beautiful, each offering its own unique sound and feel. So, although I have never seen it done before, if all the players in a tamborim section used 1x1, I imagine it would sound distinct from the other approaches. For many, 3x1 is easier to learn at a slower speed but much more challenging to play at higher speeds. By contrast, 2x1 can be tricky to learn, but once you get it, you can play faster with less effort. Although 2x1 is less commonly taught, there are some teachers who teach it. Any technique that works for you is great. Congrats, and let me know if I can help with anything else, either here or via private coaching.

Sure. I think you mean the "rimshot." That's a stroke in which the stick hits both the head and the rim at the same time. To achieve this, it's helpful to keep the stick more parallel to the head, making contact with the body of the stick, not the tip. By contrast, when playing on the head by itself, the stick tends to approach at more of an angle so that only the tip of the stick makes contact with the head. Hope this helps!

Great, Pablo! My pleasure.

Hi Pablo, you could, though it would be very heavy. Luckily, Contemporânea has a great practice pandeiro with a quiet head. That one is ideal for practicing pandeiro without bothering anyone.🙂

Thanks so much for the compliment. Although the notes are not evenly spaced, we could notate this basic pattern for samba on the caixa within a measure of 4/4 as a grouping of four 16th notes with accents on the first and last notes of the beat (with the accent on the downbeat being stronger). This sequence is repeated for the other 3 beats of the measure. I hope this helps.

bruh its just 16th notes

Fico muito honrado pelo seu elogio, Viviane. Muito obrigado! Tive o privilégio de ter entrevistado e aprendido com o grande Mestre Ubirany e de ser um amigo dele! 🙌🙏

Thank you, Magnus!

Greetings and thanks for watching.

Thanks, so glad you enjoyed it!

Cool! I'm not aware of any other Bateria besides Samba New York's that uses this caixa pattern with the same exact sticking as we do, so I'd be curious to know where you learned the pattern!🙂

Thanks so much! I'm glad you're enjoying the lessons. If you have any questions, please let me know. And if you want a complete course on what I consider to be the basics of playing samba on the pandeiro, check out the Pandeiro Basics Course on our Online Academy: sambanewyorkonlineacademy.teachable.com/p/pandeiro-basics

On the repinique? Yes! The buzz comes on the 2nd subdivision of beat 4. Thanks for your comment!

Yes, and kudos to ArtsWestchester for asking me to make this video. Thanks for your comment!

Thanks for the positive words! There must be someone teaching bossa nova guitar in NYC, but unfortunately, I don't know anyone who's doing it. Sorry I can't help more.

Thanks so much for the compliment! What's the name of your group?

Yes, Caco’s passing was a shock to all of us and so sad. Please keep me posted on Beija-Flor. Thanks!

Cool! Do you have a video of this so I can hear how it sounds?

Thanks so much for your positive feedback! I'm so honored. If there's anything else you would like explored on the channel, please let me know.

I appreciate your comment. Thanks so much!

What an honor! I truly appreciate your kind words and am so glad that my explanation worked for you. Thanks so much! Where can I hear some of your work?

Yes, that's so sad about Caco. Thanks so much for the invite to Beija-Flor! Can't make it today but another Sunday would be great. Are you there every week? Is the starting time the same (2:00 PM)?

Que bom, muito obrigado!🙏

You are most welcome!🙏

Thanks so much! So glad you liked it.

Hi Thomas, thanks for your comment. It depends what context you would like to use your surdo in. If it's a samba band or "roda de samba" (samba circle) setting, then I would recommend an 18" surdo with legs and an animal skin head on top and a plastic head on the bottom. I am an endorser of Contemporânea instruments and highly recommend their version of this drum, which is the one I play in this video. Hope this helps.

@@LearnToPlaySamba Hi. Thank you for your answer, I want to play at home, I am thinking about 18"+ (18 but mostly about 22") wood Contemporânea surdo drum. I heard aluminium corps but wood have nicer and differend sound - is deeper. I am looking real low and deep sound. What do you think about my choose? Kind Regards Thomas

@@tommagtommag899 Hi Thomas, I would recommend the wooden body for a samba band setting because it will produce a warmer sound. The aluminum body surdos are better suited to the Bateria. Let me know how it goes!

What an honor, thank you!