Awesome!. Thank you so much for sharing this with all of us. It's almost a life work for someone non brazilian to gather all this fine and detailed knowledge of brazilian folcklore. I'm from Chile and I've been playing brazilian percusion almost twelve years now and in all of these years I've seen a lot of videos of this subject, none as clear and instructive as all of your videos, Again thanx! and keep the good work!
7:00 Sooo important!!! And 9:44 and 9:53 are very also good places to look also, so important to know how to really write, play, dance and feel the Brazillian ways of being 'inside the clave' (or partido alto). Playing the phrases that have the chord changes and melodies starting with the syncopated, or around-the=downbeat, rhythmics and then landing in the middle of the phrase with the more on-the-beat notes gives us the more free way to play as heard in much of Jazz and most African and Afro diaspora music. (hey!, we need a special name for the middle beat (third beat) in a 4 beat measure!) - Thanks so much Michael for bringing this important conciousness to the integrity to the music! So many have yet to learn it properly outside of Brazil but it's happening more and more thanks to people like us. I've also come to see the importance of 10 or 6 beat 'Calls" in Congolese, Cuban and of course Brazilian music. Like the Repinique calls for batucadas - often 10 beats so while it starts in one "clave" position the parts enter half-way into the the final one... This creates more of a 'conversation' inside the patterns between the two 'halves' of the 4 beat phrases rather than tying a person down to the "ONE" or "Downbeat" in such a western fashion. We can then "choose our side" to improvise from and maintain the clave conversations!
There is a famous partido alto that many Brazilian musicians have recorded, is called Partido Alto by Airto Moreira, my favorite version is Azymuth's version
I'm so glad that you point out (at 7:00 mins) that most tunes start from the second part!!! So many musicians who try to play Brazilian styles start them from the " first part" even in tunes that are composed in the 'correct' way from the 'second part' which maybe should be called the "First Part"(?) and taught that way in general. I first learned it the way it's shown here (but probably 20 or more years ago) and learned to play it from both "Sides" as one must do for Clave based music as well. Then I noticed that tunes mostly start from the "3" side (as interpreted in a clave oriented fashion). Thanks so much for pointing it out and showing the 'trick' used to help out entering on the 'second' part. (Interestingly, you can hear cuban clave players using a similar time-keeping technique to enter playing Clave de Rumba. I think it uses 2 quarter-notes to start (on the 2-side) and then enters in 3/2 rumba clave.)
Yes, great insight...!! basically I find it helpful to conceive of and teach samba as being clave -based because the patterns have 2 "sides" which must fit together correctly for the music to swing. (For example Caixa and 3rd surdo in samba de enredo) ...and samba in general as played traditionally can be explained as "3-2 clave".
Yes!, and it's very interesting to note that many "calls" can have 6 beats; starting from the "1" of first 3-2 clave and ending in the middle of the second clave, so players have to know how to enter their parts properly. This kind of call is common in cuban, congolese, brazilian and probably many other cultures. It establishes the clave (seems most often as 3-2 (best defined and 3 notes in the 1st half and 2 in the second) and then drops the listeners/players in the middle of the clave which gives a kind of 'calve- consciousness' and freedom to hear the clave from the inside rather than one 'side' or the other.
@@jicamo66 Exactly Nick! Agree completely! Partido seems to be attributed to the 12/8 african pattern, usually bell, some call 'short bell' or "Acha" I've heard it called but it's for sure embodies both clave de son and de rumba and probably others. And yes, the For example Caixa and surdo parts really relate especially on the last note (of course 3/2 is the standard starting point of the Calls in most batucadas), that upbeat usually comes together for so many of the instruments as and 'anchor' point that Syncopated off the beat, rather than the downbeat as the anchor which just isn't anywhere nearly so HIP. !! - just like the the calls on repinique tend to be 10 beats, a lot like Cuban rumbas (los muniquitos de matanzas) or 6 beats in Congolese is so common, the "odd" number of beats starts us hearing 3/2 and the parts generally start at the mid point of the clave giving us that wonderful calve-conciousness in a very natural way!!!
So many musicians who try to play Brazilian styles start them from the " first part" even in tunes that are composed in the 'correct' way from the 'second part' which maybe should be called the "First Part"(?) and taught that way in general. I first learned it the way it's shown here (but probably 20 or more years ago) and learned to play it from both "Sides" as one must do for Clave based music as well. Then I noticed that tunes mostly start from the "3" side (as interpreted in a clave oriented fashion). Thanks so much to Michael for pointing it out and showing the 'trick' used to help out entering on the 'second' part. (Interestingly, you can hear cuban clave players using a similar time-keeping technique to enter playing Clave de Rumba. I think it uses 2 quarter-notes to start (on the 2-side) and then enters in 3/2 rumba clave.)
So many non-brazillian musicians who try to play Brazilian styles start them from the "first part" even on top of tunes that are composed in the 'correct' way from the 'second part' which maybe should be called the "First Part"(?) and taught that way in general. Guitar players take notice!!! I first learned it the way it's shown here (but probably 20 or more years ago) and learned to play it from both "Sides" as one must do for Clave based music as well. Then I noticed that tunes mostly start from the "3" side (as interpreted in a clave oriented fashion). Thanks so much for pointing it out and showing the 'trick' used to help out entering on the 'second' part. (Interestingly, you can hear cuban clave players using a similar time-keeping technique to enter playing Clave de Rumba. I think it uses 2 quarter-notes to start (on the 2-side) and then enters in 3/2 rumba clave.)
@@TiqueO6 It's always a "trick" to start a rhythm on the Off-Beat. I love this, cause most of the people take the first sound as the downbeat. And you got tricked by this.... You can start every rhythm on a offbeat and most of the people recognize the real beat, when the Bass or a low drum/ tone is coming into the groove. But in brazilian music often the 1 is not an accent. In Samba it is the 3 of the bar, which is the lower once and that is the Off-Beat from the 1.
@@macschomo I think we’re on the same page, but no, I didn’t get tricked myself. But many others have been. If you could explain why you think I was tricked it would be interesting and maybe I would learn something in the process or we would.
@@TiqueO6 Not you are tricked. But the listener who is expecting a 1 as the first beat. It's a basic concept how our ears are working. Michael de Miranda and me we had the same teacher in Arnhem, Steve Boston. And he never told us where the 1 is. This is how you learn it... ;-)
@@macschomo agreed completely! I have many teachers who are not classically trained or trained in a western way of teaching, Cuban teachers, Congolese teachers, there’s a lot that we have to keep our minds open to finally understand. Like one and a half Clave calls or 2 1/2 clave calls are very important in most of this kind of music. They give a wonderful form of “Clave consciousness“ I’m having dinner now but would love to discuss further!
More great stuff Michael, thank you so much. It would be great if you did a cavaquinho video. Its very difficult to find stuff with a good English explanation. Your videos rule!
@zarapico No, pagode is a small group playing in bars. Most of the time with only small instruments like pandeiro, cavaquinho, tamborim ect. But they can play different kind of rhythms (mostly samba).
Hi Michael, I'm sorry to ask you again for another lesson so soon, but I just love the way you teach and how clearly you get the info across. Can you show us how to play this Partido Alto on 2-3 congas? and possibly any other variations that you know?
I must say that all partido alto sambas, starts with the second count. The first one doesn´t exist in the mainstream samba. You won´t hear this in any samba recording. It varys just the ways to start off, like you said. Cheers!
Great instructional style, Michael !! I learned a couple of couple of bossa/MPBs on guitar (Jobim's 'Triste' and Toninho Horta's 'Aqui Oh!') by tab scores that seem to be Partido Alto, but never knew the name of the rhythm. Though I am strictly amateur, Brazil is the center of my music universe. Looking forward to more of your videos.
Everyone! Don't just watch the first half of this! Don't miss from about 7:00 onward ( 8:30 is also invaluable!) Otherwise you'll miss how he explains the true way to understand how this "clave" pattern is placed in authentic Brazilian tunes (and percussion ensembles as well) if you don't learn that you can't feel brazilian rhythm right!
You're so welcome Michael! I think many 'non-native' musicians and dancers are somewhat late to understanding on which "side" of the clave they're truly meant to be oriented and your work goes a long way to educate in the marvelous ways these patterns are used in their countries of origin. Have you discussed the 6 beat (or 1+1/2 Clave) percussion calls and how percussionists in particular need to know how to enter their parts on the correct part of the pattern even if it's not from the "1"? I've encountered these calls in Brazilian, Congolese and likely Cuban percussion concepts. They're very effective at establishing the clave-based patterns as 3-2 and 'landing' the percussionists and dancers in the middle so there's more of a "clave conscious" feeling - being able to hear it from the inside rather than just from beat one or beat three (of a 4 beat clave - personally I prefer the clave in one 4 beat bar because the division halfway is easily identified by beat #). While it's tough it's very cool to be able to start patterns after these "long" calls and have them in their proper orientation to each other and the melodies, dance moves, etc. So many have learned patterns from what's often actually beat 3 while thinking it's the "1" because many "non-western" teachers use western counting usually without differentiating whether it's actually what is the halfway point of what most consider a "3-2" pattern (3-2 defined as: 3 notes in the 1st half and 2 in the second).
You are also saying that one phrase of partido alto takes 8 beats. Like any clave pattern, it happens in 4 beats. You can clearly hear this on any recording that uses it, which is usually the cuica, unless you are playing pagode, where the bell is used.
Sometimes it's written and or thought of as taking 2 bars to complete. I prefer the '4 beat' version - clave taking 1 4 beat bar to complete - which allows us to understand which 'half' of the Clave we're in according to "beat 1" or "beat 3" both of which divide it in 'half' (and also that helps people to beat the foot on the strong beats).
Just revisited your question and I think more you were speaking of the chord changes involved taking eight beats to complete rather than the Partido pattern. Each Partido pattern takes four beats to complete and it takes two of those patterns to complete the chord changes in the example with the tune that he made for the lesson.
Hee ik zin ook groot fan van pagode en samba in t algemeen. Iej legnt t mooi dudelik oet :). Ik zitte non Rebolo op minn ofvalemmer te spöln :) Ik gebroeke ne joekelille as kavakinjo, det kleenkt zowat t zelfde. Grootn oet Tweante!
Michael, the small guitar that you are playing, I'm trying to mimic it on my ukulele and it doesn't sound the same... Do you know the chords you are playing?
A cavaquinho sounds different then a ukelele because of the metallic strings which are tuned very high. It is long time since I played this and I don't know the chords that I played...
Im sorry, I enjoy your videos but this is not correct. There is no note played on the 1 in Partido Alto. The first high note on the agogo is the E of 1. So it goes, E 2 & 3 & E A, or I can highlight by Quotes the notes played 1 "E" &A "2" E "&" A "3" E "&" A4 "E" & "A"
But he explains this very thoroughly starting at about 7:00, sadly, those who only listen to the beginning could learn it wrongly. I think he should have given an advisory at the beginning about what was coming later... Also at about 8:30 he shows the authentic ways to set up the rhythm or to enter from stops or the beginning, very valuable! And, hes one of the very few that get's this concept correctly! (I'm so sick of people not wanting to learn the true Partido ways!)
Awesome!. Thank you so much for sharing this with all of us. It's almost a life work for someone non brazilian to gather all this fine and detailed knowledge of brazilian folcklore. I'm from Chile and I've been playing brazilian percusion almost twelve years now and in all of these years I've seen a lot of videos of this subject, none as clear and instructive as all of your videos, Again thanx! and keep the good work!
7:00 Sooo important!!! And 9:44 and 9:53 are very also good places to look also, so important to know how to really write, play, dance and feel the Brazillian ways of being 'inside the clave' (or partido alto). Playing the phrases that have the chord changes and melodies starting with the syncopated, or around-the=downbeat, rhythmics and then landing in the middle of the phrase with the more on-the-beat notes gives us the more free way to play as heard in much of Jazz and most African and Afro diaspora music. (hey!, we need a special name for the middle beat (third beat) in a 4 beat measure!) - Thanks so much Michael for bringing this important conciousness to the integrity to the music! So many have yet to learn it properly outside of Brazil but it's happening more and more thanks to people like us. I've also come to see the importance of 10 or 6 beat 'Calls" in Congolese, Cuban and of course Brazilian music. Like the Repinique calls for batucadas - often 10 beats so while it starts in one "clave" position the parts enter half-way into the the final one... This creates more of a 'conversation' inside the patterns between the two 'halves' of the 4 beat phrases rather than tying a person down to the "ONE" or "Downbeat" in such a western fashion. We can then "choose our side" to improvise from and maintain the clave conversations!
What a great little lesson; just found out about this beat recently and now I understand it much better!
Thank you and I wish you good luck!
There is a famous partido alto that many Brazilian musicians have recorded, is called Partido Alto by Airto Moreira, my favorite version is Azymuth's version
Great song and a great artist, Airto! I love his Partido Alto!
All of you videos are great. You are a wonderful teacher. Bravo Maestro
Thank you very much, Ricardo!!
I'm so glad that you point out (at 7:00 mins) that most tunes start from the second part!!! So many musicians who try to play Brazilian styles start them from the " first part" even in tunes that are composed in the 'correct' way from the 'second part' which maybe should be called the "First Part"(?) and taught that way in general.
I first learned it the way it's shown here (but probably 20 or more years ago) and learned to play it from both "Sides" as one must do for Clave based music as well. Then I noticed that tunes mostly start from the "3" side (as interpreted in a clave oriented fashion).
Thanks so much for pointing it out and showing the 'trick' used to help out entering on the 'second' part.
(Interestingly, you can hear cuban clave players using a similar time-keeping technique to enter playing Clave de Rumba. I think it uses 2 quarter-notes to start (on the 2-side) and then enters in 3/2 rumba clave.)
Yes, great insight...!! basically I find it helpful to conceive of and teach samba as being clave -based because the patterns have 2 "sides" which must fit together correctly for the music to swing. (For example Caixa and 3rd surdo in samba de enredo) ...and samba in general as played traditionally can be explained as "3-2 clave".
Yes!, and it's very interesting to note that many "calls" can have 6 beats; starting from the "1" of first 3-2 clave and ending in the middle of the second clave, so players have to know how to enter their parts properly.
This kind of call is common in cuban, congolese, brazilian and probably many other cultures. It establishes the clave (seems most often as 3-2 (best defined and 3 notes in the 1st half and 2 in the second) and then drops the listeners/players in the middle of the clave which gives a kind of 'calve- consciousness' and freedom to hear the clave from the inside rather than one 'side' or the other.
@@jicamo66 Exactly Nick! Agree completely! Partido seems to be attributed to the 12/8 african pattern, usually bell, some call 'short bell' or "Acha" I've heard it called but it's for sure embodies both clave de son and de rumba and probably others. And yes, the For example Caixa and surdo parts really relate especially on the last note (of course 3/2 is the standard starting point of the Calls in most batucadas), that upbeat usually comes together for so many of the instruments as and 'anchor' point that Syncopated off the beat, rather than the downbeat as the anchor which just isn't anywhere nearly so HIP. !! - just like the the calls on repinique tend to be 10 beats, a lot like Cuban rumbas (los muniquitos de matanzas) or 6 beats in Congolese is so common, the "odd" number of beats starts us hearing 3/2 and the parts generally start at the mid point of the clave giving us that wonderful calve-conciousness in a very natural way!!!
So many musicians who try to play Brazilian styles start them from the " first part" even in tunes that are composed in the 'correct' way from the 'second part' which maybe should be called the "First Part"(?) and taught that way in general.
I first learned it the way it's shown here (but probably 20 or more years ago) and learned to play it from both "Sides" as one must do for Clave based music as well. Then I noticed that tunes mostly start from the "3" side (as interpreted in a clave oriented fashion).
Thanks so much to Michael for pointing it out and showing the 'trick' used to help out entering on the 'second' part.
(Interestingly, you can hear cuban clave players using a similar time-keeping technique to enter playing Clave de Rumba. I think it uses 2 quarter-notes to start (on the 2-side) and then enters in 3/2 rumba clave.)
greetings from scotland and thank you for the video, very helpful (and cheerful!) :)
Thank you, Alec. I am glad that you enjoyed the video. Have much fun with the rhythms!
I didn´t know you are greek! I´ve been watching some of your videos, you´re doing a nice job. Cheers from Brasil
Great information about the first beat. I have wondered all the time.
So many non-brazillian musicians who try to play Brazilian styles start them from the "first part" even on top of tunes that are composed in the 'correct' way from the 'second part' which maybe should be called the "First Part"(?) and taught that way in general. Guitar players take notice!!!
I first learned it the way it's shown here (but probably 20 or more years ago) and learned to play it from both "Sides" as one must do for Clave based music as well. Then I noticed that tunes mostly start from the "3" side (as interpreted in a clave oriented fashion).
Thanks so much for pointing it out and showing the 'trick' used to help out entering on the 'second' part.
(Interestingly, you can hear cuban clave players using a similar time-keeping technique to enter playing Clave de Rumba. I think it uses 2 quarter-notes to start (on the 2-side) and then enters in 3/2 rumba clave.)
@@TiqueO6 It's always a "trick" to start a rhythm on the Off-Beat. I love this, cause most of the people take the first sound as the downbeat. And you got tricked by this.... You can start every rhythm on a offbeat and most of the people recognize the real beat, when the Bass or a low drum/ tone is coming into the groove. But in brazilian music often the 1 is not an accent. In Samba it is the 3 of the bar, which is the lower once and that is the Off-Beat from the 1.
@@macschomo I think we’re on the same page, but no, I didn’t get tricked myself. But many others have been. If you could explain why you think I was tricked it would be interesting and maybe I would learn something in the process or we would.
@@TiqueO6 Not you are tricked. But the listener who is expecting a 1 as the first beat. It's a basic concept how our ears are working. Michael de Miranda and me we had the same teacher in Arnhem, Steve Boston. And he never told us where the 1 is. This is how you learn it... ;-)
@@macschomo agreed completely! I have many teachers who are not classically trained or trained in a western way of teaching, Cuban teachers, Congolese teachers, there’s a lot that we have to keep our minds open to finally understand. Like one and a half Clave calls or 2 1/2 clave calls are very important in most of this kind of music. They give a wonderful form of “Clave consciousness“
I’m having dinner now but would love to discuss further!
Still a great Video! Thank you sharing your knowledge!
Thank you very much and I hope you can use it!!
Genial, muy interesante,saludos desde España, Europa Michael.
De nada, Anxo! Saludos desde Alemania!
More great stuff Michael, thank you so much. It would be great if you did a cavaquinho video. Its very difficult to find stuff with a good English explanation. Your videos rule!
So well explained
Thank you!
Thanks-great explanation
Fantastic explanation. Bravo and thank you
@zarapico No, pagode is a small group playing in bars. Most of the time with only small instruments like pandeiro, cavaquinho, tamborim ect. But they can play different kind of rhythms (mostly samba).
Thank you so much for this!!!!!
Thank you and I wish you good luck with it!!
Great explanation, helps a lot :-)
The "band" is sounding good :) Keep it up!
Hi Michael, I'm sorry to ask you again for another lesson so soon, but I just love the way you teach and how clearly you get the info across.
Can you show us how to play this Partido Alto on 2-3 congas? and possibly any other variations that you know?
michael you are great
Greetings from Italy
I must say that all partido alto sambas, starts with the second count. The first one doesn´t exist in the mainstream samba. You won´t hear this in any samba recording. It varys just the ways to start off, like you said. Cheers!
Great instructional style, Michael !! I learned a couple of couple of bossa/MPBs on guitar (Jobim's 'Triste' and Toninho Horta's 'Aqui Oh!') by tab scores that seem to be Partido Alto, but never knew the name of the rhythm. Though I am strictly amateur, Brazil is the center of my music universe. Looking forward to more of your videos.
Steve Martin Thank you Steve!
Thank you very much!
Everyone! Don't just watch the first half of this! Don't miss from about 7:00 onward ( 8:30 is also invaluable!)
Otherwise you'll miss how he explains the true way to understand how this "clave" pattern is placed in authentic Brazilian tunes (and percussion ensembles as well) if you don't learn that you can't feel brazilian rhythm right!
Thank you so much, Tique!!
You're so welcome Michael! I think many 'non-native' musicians and dancers are somewhat late to understanding on which "side" of the clave they're truly meant to be oriented and your work goes a long way to educate in the marvelous ways these patterns are used in their countries of origin.
Have you discussed the 6 beat (or 1+1/2 Clave) percussion calls and how percussionists in particular need to know how to enter their parts on the correct part of the pattern even if it's not from the "1"?
I've encountered these calls in Brazilian, Congolese and likely Cuban percussion concepts. They're very effective at establishing the clave-based patterns as 3-2 and 'landing' the percussionists and dancers in the middle so there's more of a "clave conscious" feeling - being able to hear it from the inside rather than just from beat one or beat three (of a 4 beat clave - personally I prefer the clave in one 4 beat bar because the division halfway is easily identified by beat #). While it's tough it's very cool to be able to start patterns after these "long" calls and have them in their proper orientation to each other and the melodies, dance moves, etc.
So many have learned patterns from what's often actually beat 3 while thinking it's the "1" because many "non-western" teachers use western counting usually without differentiating whether it's actually what is the halfway point of what most consider a "3-2" pattern (3-2 defined as: 3 notes in the 1st half and 2 in the second).
Superb videos, I have learned a lot :-)
SAHBfan Thank you! I'm glad my video's can help you.
bravo...great music e ritmo...ciao
Thank you Tony!!
Muito bom!!!
Thanks and good luck!!
Hi Michael! Another very helpful video, thanks!
Any chance you have the Partido Alto part for Tambourim written out?
Great!
bluesky810 Thanks!
You are also saying that one phrase of partido alto takes 8 beats. Like any clave pattern, it happens in 4 beats. You can clearly hear this on any recording that uses it, which is usually the cuica, unless you are playing pagode, where the bell is used.
Sometimes it's written and or thought of as taking 2 bars to complete. I prefer the '4 beat' version - clave taking 1 4 beat bar to complete - which allows us to understand which 'half' of the Clave we're in according to "beat 1" or "beat 3" both of which divide it in 'half' (and also that helps people to beat the foot on the strong beats).
Just revisited your question and I think more you were speaking of the chord changes involved taking eight beats to complete rather than the Partido pattern. Each Partido pattern takes four beats to complete and it takes two of those patterns to complete the chord changes in the example with the tune that he made for the lesson.
Hee ik zin ook groot fan van pagode en samba in t algemeen. Iej legnt t mooi dudelik oet :). Ik zitte non Rebolo op minn ofvalemmer te spöln :) Ik gebroeke ne joekelille as kavakinjo, det kleenkt zowat t zelfde. Grootn oet Tweante!
@woolters Bedankt! graog gedaon!
Tnx Michael, Are there famous Partido alto songs that we would be familiar with? Trem das Onze, Mas que Nada?
so true ...but nobody cares to notice...cheers from greece
Excellente vedeos
Berenice
Muito obrigado!!
Michael, the small guitar that you are playing, I'm trying to mimic it on my ukulele and it doesn't sound the same... Do you know the chords you are playing?
A cavaquinho sounds different then a ukelele because of the metallic strings which are tuned very high. It is long time since I played this and I don't know the chords that I played...
Azul Thanks for responding Michael. Hope you're having a good day :)
peacefulpsyche Thank you and good luck!
Is Partido Alto the same thing as Pagode?
Marcos Santos explains it in minute 8 - 10 on this video titled 'Pandeiro! Samba and Partido Alto play along and class with Marcus Santos"
Hi, I've made a video about afoxe. If you go to my channel, you will find it. It's called: Afoxe. Good luck and enjoy it!!
Thanks a lot! I can play a little, little bit cavaquinho, but not good enough to give a lesson on this beautiful instrument..... Sorry.
W
Im sorry, I enjoy your videos but this is not correct. There is no note played on the 1 in Partido Alto. The first high note on the agogo is the E of 1. So it goes, E 2 & 3 & E A, or I can highlight by Quotes the notes played 1 "E" &A "2" E "&" A "3" E "&" A4 "E" & "A"
But he explains this very thoroughly starting at about 7:00, sadly, those who only listen to the beginning could learn it wrongly. I think he should have given an advisory at the beginning about what was coming later...
Also at about 8:30 he shows the authentic ways to set up the rhythm or to enter from stops or the beginning, very valuable! And, hes one of the very few that get's this concept correctly! (I'm so sick of people not wanting to learn the true Partido ways!)