Введение
Музыкальное сопровождение в капоэйре
Musical accompaniment in Capoeira
Капоэйрская музыка – это традиционное музыкальное сопровождение, используемое в афро-бразильском искусстве капоэйры, с применением таких инструментов, как беримбау, пандейру, атабаке, агого и реко-реко. Музыка играет важнейшую роль в капоэйре рода, задавая стиль и энергию игры. В контексте капоэйры музыка используется для создания священного пространства как посредством физического формирования круга (роды), так и посредством звукового пространства, которое, как считается, связывает с миром духов. Эта глубинная религиозная значимость для большинства групп капоэйры существует скорее как социальная память, но обычно осознается, что подтверждается использованием барабанов нгома (атабаки кандомбле) и беримбау, ранние формы которого использовались в африканских ритуалах для общения с предками.
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. Music in the context of capoeira is used to create a sacred space through both the physical act of forming a circle (roda) and an aural space that is believed to connect to the spirit world. This deeper religious significance exists more as a social memory to most capoeira groups, but is generally understood as evidenced in the use of ngoma drums (the atabaques of candomblé), and the berimbau whose earlier forms were used in African rituals to speak with the ancestors.
Песни в капоэйре
В традиционном контексте капоэйры, структура роды формируется переплетением трех основных стилей песен. Понимание песен в капоэйре – это хороший способ осмыслить и поместить в исторический контекст раннюю бразильскую жизнь и историю. Если человек способен ощутить связь с музыкой на личном уровне, это значительно способствует принятию наследия, необходимого для сохранения капоэйры как культурной силы. Песни капоэйры частично выполняют роль культурного проводника и учителя. Песни, будь то ладайнья, корридо или квадра, можно классифицировать по множеству признаков для сравнения. Приведенный ниже список не является исчерпывающим.
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Какие примеры?
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Примеры песен | Народные уроки | Признание народных традиций
corridos | Bate Dendê, Marinheiro Sou |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Признание рабства |
corridos | Návio Negreiro, Manteiga Derramou, междометия iaia и ioio (дочь и сын рабовладельца соответственно) |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Признание символических аспектов капоэйры |
vadiação, mandinga/mandingueiro, malandro/malandragem |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Признание корней через географические названия |
Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Признание религии/духовности/религиозного синкретизма |
ссылки на католических святых, Бога(ов), оришас, Кандомбле, Нганга и т.д. |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Биографические, автобиографические, мифологические отсылки |
Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Песни, метафорически комментирующие игру |
corridos | a Bananeira Caiu, a Onça Morreu |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Песни, напрямую комментирующие игру |
corridos | Devagar, Donalice Não Me Pegue Não |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Приветственные и прощальные песни (Despedidas) |
corridos | Camungerê, Boa Viagem |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Песни, приветствующие женщин в роде для участия в игре |
corridos | Dona Maria do Camboatá, Sai, Sai, Catarina, и песня Quem foi te disse Capoeira é só pra homem |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Мета-песни капоэйры, то есть те, что напрямую упоминают/призывают Капоэйру по имени |
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Многие песни можно отнести сразу к нескольким категориям.
In its traditional setting, there are three main styles of song that weave together the structure of the capoeira roda. Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher. The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
What Examples Song examples Folk lessons Acknowledging folkway the corridos Bate Dendê, Marinheiro Sou Acknowledging Slavery the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) Acknowledging symbolic aspects of capoeira vadiação, mandinga/mandingueiro, malandro/malandragem Acknowledging roots through place Angola, Aruanda, Bahia, Pelourinho, Maranhão, Recife Acknowledging Religion/Spirituality/Religious Syncretism references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc Biographical, Autobiographical, Mythological references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Zumbi Songs that comment on the game metaphorically the corridos a Bananeira Caiu, a Onça Morreu Songs that comment on the game directly the corridos Devagar, Donalice Não Me Pegue Não Greeting and Farewell songs (Despedidas) the corridos Camungerê, Boa Viagem Songs that welcome women into the roda to play the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem Meta Capoeira songs, that is, those that directly reference/invoke Capoeira by name
Many songs can be considered cross categorizational, as well.
Чула
Термин "чула" часто применяется к возгласу и ответу "louvação", непосредственно следующему за "ladainha". В отличие от этого, традиционно в штате Баия "чула" представляет собой свободную форму текста песни Samba de Roda, исполняемую между танцами (как в samba parada), и определяет структуру различных других "стилей" самбы де рода, в то время как самба корридо длится столько, сколько певцу хочется её исполнять, прежде чем он перейдёт к следующей. "Чула" – это поэтическая форма, основанная на форме квадра (четверостишия), которая, возможно, повлияла на замену местре Бимбой "ladainha" на квадры, и имеет корни в Иберии. Слово "chula" происходит от слова "chulo", означающего "простой", обычный, деревенский (аналогично испанские слова "chulo" / "chulito" используются для обозначения крестьянских индейцев в Америке), часто пасторальный и сентиментальный. Причины, по которым термин "чула" стал применяться к "louvação", в настоящее время неизвестны. Однако его сходство с "ladainha" и использование песен "corrido" из традиции самбы де рода, вероятно, сыграли важную роль.
The term chula is often given to the call and response louvação immediately following the ladainha. By comparison, traditionally in Bahia the chula is the free form song text of the Samba de Roda sung between the dances (as in the samba parada) and defines the structures of the various other "styles" of samba de roda, while the samba corrido lasts as long as the singer feels like singing it before moving on to another. The chula is a poetic form based on the quadra (quatrain) form (which may have influenced Mestre Bimba's replacement of ladainhas with quadras) with its roots in Iberia. The word chula comes from the word chulo meaning "vulgar", common, rustic (similarly the Spanish word chulo/chulito is used for peasant Indians in the Americas), being often pastoral and sentimental. How the term chula came to refer to the louvação isn't currently known. But its similarity to the ladainha and the use of corrido songs from the samba de roda tradition probably played a large role.
Мелодия и ритм
Мелодии варьируются от квинты выше (иногда до сексты) и терции ниже тоники: A (B) C D E (F) G (A), где C – тоника, ведущий тон (B), кварта (f) и секста (A) обычно избегаются. См. Степень (музыка). Ладаинья может включать кварту ниже тоники в каденции как заключительную фразу с "camaradinho", сигнализирующую о начале louvação. Вместо тонико-доминантной связи, ладаиньи демонстрируют тонико-супертоническую прогрессию (кстати, босса-нова проявляет аналогичную тенденцию по не связанным причинам), где гармоническое напряжение всегда сосредоточено на второй ступени лада, D в тональности C. Беримбау обладает гармоническим потенциалом, но не обязательно настраивается на голоса певцов. Если это происходит, то обычно используется высокая нота гунга, поскольку именно с нее начинается ладаинья и, следовательно, не создается диссонирующий второй интервал между ними. Это не строгое правило, поскольку можно найти множество примеров, когда певец настраивает свой голос на низкую ноту. Это приводит к классификации музыки как миксолидийской, что является распространенной чертой бразильской музыки на северо-востоке Бразилии. Вопрос о том, слышится ли она в миксолидийском или мажорном ладу, остается дискуссионным. Начальный возглас "Iê" обычно находится на квинту выше тоники и задает тональность. Ритмически музыка написана в размере 4/4, что характерно для музыки ангольского региона Африки, откуда происходят ритмы бразильской самбы и кубинского гуагуанко. Пение ведется на португальском языке с некоторыми словами и фразами на киконго и йоруба. Тексты согласуются с ритмом музыки, иногда попадая на сильные доли, иногда на слабые и преддоли, в зависимости от особенностей конкретной песни. Существует теория, что ритмы капоэйры действительно происходят из Анголы, однако введение беримбау в капоэйру было относительно недавним (по крайней мере, с конца XIX века), и оригинальные песни, инструментарий и ритмы были утеряны. Капоэйра в своей ранней форме сопровождалась омаром на киконго, хлопками в ладоши и перкуссионным аккомпанементом на поперечном барабане. С тех пор, вплоть до начала XX века, использовались различные инструменты, включая свистки, кастанеты, виолы (маленькие бразильские гитары) и, вероятно, любые доступные инструменты. Беримбау был народным инструментом для сольного сопровождения песен и религиозных обрядов и стал основой роды, когда металлическая проволока стала широко доступна для использования в качестве струны. До этого беримбау натягивались растительными волокнами и, следовательно, не могли звучать так громко, как с металлом (в настоящее время проволока извлекается из старых автомобильных и велосипедных шин). Однако использование медной проволоки на беримбау было зафиксировано еще в 1824 году в Рио-де-Жанейро. Включение касиши в беримбау – еще одно недавнее нововведение, которое придает инструменту дополнительную силу. Существует теория, что беримбау оснащались металлическими лезвиями сверху, что делало их оборонительным оружием, когда игра в капоэйру на открытом месте (которая фактически была запрещена до 1930-х годов) была опасным занятием.
The melodies range from a fifth above (sometimes up to a sixth) and a third below the tonic: A (B) C D E (F) G (A), where C is tonic, the leading tone (B), fourth (f) and the sixth (A) are generally avoided. See Degree (music). The ladainha may include the fourth below the tonic at the cadence as a tagline with "camaradinho" to signal the beginning of the louvação. Rather than a tonic dominant relationship, the ladainhas exhibit a tonic supertonic progression (incidentally bossa nova exhibits a similar tendency for unrelated reasons) where harmonic tension is always on the 2nd scale degree, D in the key of C.
NB. The berimbaus have a harmonic potential, but are not necessarily tuned to the singers' voices. If they are, then it will be generally the high note of the gunga as that is where the ladainha begins and as such doesn't create a dissonant 2nd interval between the two. That's not a strict rule in that many examples can be found where the singer tunes his or her voice to the low note instead. This has the effect of categorizing the music as mixolydian, a common feature of Brazilian music in the Northeast of Brazil. Whether or not one hears it in mixolydian or major is debatable. The beginning yell of Iê is commonly a fifth above the tonic and this sets the key. Rhythmically, the music is in 4/4 time, common for music in the Angolan region of Africa, where the rhythms of both Brazilian samba and Cuban guaguancó have their origins. The singing is in Portuguese with some Kikongo and Yoruba words and phrases. The lyrics align themselves with the rhythm of the music, sometimes coming in on the strong beats, sometimes on the weak beats and pickups, depending on the vagaries of the song. It is theorized that the rhythms of capoeira are indeed from Angola, however, the introduction of the berimbau to capoeira was relatively recent (at least since the late 19th century) and the original songs, instrumentation, and rhythms are now lost. Capoeira in its earlier form was accompanied by omar in kikongo, hand clapping, and percussion accompaniment on a transverse hand drum. Since then, a number of instruments, including whistles, castanets, and violas (small Brazilian guitars), and likely any instrument available, have been used into the early 20th century. The berimbau itself has been a folk instrument for solo song accompaniment and worship and became a mainstay of the roda when metal wire was widely available for use as a string. Before then, berimbaus were strung with plant fibers and thus could not project as loudly as with metal (nowadays, the wire is culled from used car and bicycle tires). Brass wire was observed being used on berimbaus, though, as early as 1824 in Rio. The caxixi's inclusion with the berimbau is another recent innovation that gives the berimbau an extra bit of punch. A theory goes that berimbaus were fitted with metal blades at the top which made them a defensive weapon when playing capoeira openly (which was essentially outlawed until the 1930s) was a dangerous affair.
NB. The berimbaus have a harmonic potential, but are not necessarily tuned to the singers' voices. If they are, then it will be generally the high note of the gunga as that is where the ladainha begins and as such doesn't create a dissonant 2nd interval between the two. That's not a strict rule in that many examples can be found where the singer tunes his or her voice to the low note instead. This has the effect of categorizing the music as mixolydian, a common feature of Brazilian music in the Northeast of Brazil. Whether or not one hears it in mixolydian or major is debatable. The beginning yell of Iê is commonly a fifth above the tonic and this sets the key. Rhythmically, the music is in 4/4 time, common for music in the Angolan region of Africa, where the rhythms of both Brazilian samba and Cuban guaguancó have their origins. The singing is in Portuguese with some Kikongo and Yoruba words and phrases. The lyrics align themselves with the rhythm of the music, sometimes coming in on the strong beats, sometimes on the weak beats and pickups, depending on the vagaries of the song. It is theorized that the rhythms of capoeira are indeed from Angola, however, the introduction of the berimbau to capoeira was relatively recent (at least since the late 19th century) and the original songs, instrumentation, and rhythms are now lost. Capoeira in its earlier form was accompanied by omar in kikongo, hand clapping, and percussion accompaniment on a transverse hand drum. Since then, a number of instruments, including whistles, castanets, and violas (small Brazilian guitars), and likely any instrument available, have been used into the early 20th century. The berimbau itself has been a folk instrument for solo song accompaniment and worship and became a mainstay of the roda when metal wire was widely available for use as a string. Before then, berimbaus were strung with plant fibers and thus could not project as loudly as with metal (nowadays, the wire is culled from used car and bicycle tires). Brass wire was observed being used on berimbaus, though, as early as 1824 in Rio. The caxixi's inclusion with the berimbau is another recent innovation that gives the berimbau an extra bit of punch. A theory goes that berimbaus were fitted with metal blades at the top which made them a defensive weapon when playing capoeira openly (which was essentially outlawed until the 1930s) was a dangerous affair.