“Navalha Quer Me Cortar” is a fun song written by Instrutor Grilo from São Paulo (not sure if he is still instrutor, or profesor, or what as I write this). Mestre Pedro Cruz had us learn this about a decade ago, and I wanted to bring it back, so here it is. Here are the verses and coros (in red):
Navalha[1] quer me cortar,
Não corta não,
Não corta não,
Não corta
Navalha não corta
Navalha quer me cortar,
Não corta não,
Não corta não,
Não corta
Navalha quer me cortar,
Não corta não não não, não, não,
Não corta não,
Não corta
Navalha não corta
Navalha quer me cortar,
Não corta não,
Não corta não,
Não corta
Navalha
É a língua do falador,
Navalha
Não me corta, não senhor
Navalha não corta não
Navalha quer me cortar,
Não corta não,
Não corta não,
Não corta
Navalha
Passou raspando por aqui
Navalha
Quer fazer o mal a mim
Mas eu tenho o corpo fechado[2]
Navalha,
Eu dou conta do recado
Navalha quer me cortar,
Não corta não,
Não corta não,
Não corta
Navalha não corta
Navalha quer me cortar,
Não corta não,
Não corta não,
Não corta
Navalha quer me cortar,
Não corta não,
Não corta não,
Não corta
Navalha não corta
Navalha quer me cortar,
Não corta não,
Não corta não,
Não corta
Translating verses and coro (in red):
Straight razor[1] wants to cut me
Doesn’t cut, no
Doesn’t cut, no
Doesn’t cut
Straight razor doesn’ cut
Straight razor wants to cut me
Doesn’t cut, no
Doesn’t cut, no
Doesn’t cut
Straight razor wants to cut me
Doesn’t cut, no, no, no, no, no
Doesn’t cut, no
Doesn’t cut
Straight razor doesn’ cut
Straight razor wants to cut me
Doesn’t cut, no
Doesn’t cut, no
Doesn’t cut
Straight razor
Is the tongue of the gossip
Straight razor
Doesn’t cut me, no mister
Straight razor doesn’t cut
Straight razor wants to cut me
Doesn’t cut, no
Doesn’t cut, no
Doesn’t cut
Straight razor
Passed just barely passed by here
Straight razor
Wants to do harm to me
But I have the closed body[2]
Straight razor
I can handle it
Straight razor wants to cut me
Doesn’t cut, no
Doesn’t cut, no
Doesn’t cut
Straight razor doesn’t cut
Straight razor wants to cut me
Doesn’t cut, no
Doesn’t cut, no
Doesn’t cut
Straight razor wants to cut me
Doesn’t cut, no
Doesn’t cut, no
Doesn’t cut
Straight razor doesn’ cut
Straight razor wants to cut me
Doesn’t cut, no
Doesn’t cut, no
Doesn’t cut
NOTES:
[1] The navalha (also sometimes called a “cut-throat razor” in Portuguese) is a folding straight razor (like a barber might use), and is associated with a hidden weapon of crooks and gangsters (sort of like the switchblade knife in American culture in the mid-twentieth century), and is associated with capoeiristas, particularly with the Maltas, a mid-ninteenth century capoeira gang in Rio de Janeiro.
[2] The corpo fechado is a legendary and mythical state of imperviousness to bodily harm attained by the most renowned capoeiristas, where no kicks, punches, knives, clubs or even bullets can harm one. In order to kill someone with the corpo fechado one needed to make a ritualistic weapon out of the heart of the tucum palm (as reportedly happened to Besouro Mangangá).
Here is a recording of me and Monitor Texugo singing it (or download mp3):
“Quem Tem Fome” is a quadra and louvaço written by Contramestre (now Mestre) Recruta’ and appearing on his album Barímbau Chorou. Here are the verses and coros (in red):
Certo dia meu pai sempre falou,
O tempo não para pra niguem,
Alimenta o seu corpo,
Seu mente, seu alma, meu bem, camará
Êê Aruandê
Êê Aruandê, camará
Êê quem vai querer,
Êê quem vai querer, camará
Êê a capoeira,
Êê a capoeira, camará
Êê a Regional,
Êê a Regional, camará
Êê vamos jogar,
Êê vamos jogar, camará
Êê volta do mundo,
Êê volta do mundo, camará
Quem tem fome vai comer,
Vai comer, vai comer
Quem tem fome vai comer,
Tempo não para pra ninguem,
Quem tem fome vai comer,
Alimenta o seu corpo,
Quem tem fome vai comer,
Seu mente, seu alma, meu bem,
Quem tem fome vai comer,
Vai comer, vai comer,
Quem tem fome vai comer,
Quem tem sede vai beber,
Quem tem fome vai comer,
Se você não vai eu vou,
Quem tem fome vai comer,
Vai comer, vai comer,
Quem tem fome vai comer,
Em na mesa da capoeira,
Quem tem fome vai comer,
Vai comer, vai comer,
Quem tem fome vai comer,
Quem não come vai morrer
Quem tem fome vai comer,
Quem tem fome vai comer,
Quem tem fome vai comer,
Quem tem fome vai comer,
O quem tem fome
Vai comer
Quem tem fome,
Vai comer
Vamos jogar,
Vai comer
Vamos aprender,
Vai comer
Á capoeira,
Vai comer
Regional,
Vai comer
Translating verses and coros (in red):
Back in the day my father always said
The time doesn’t wait for nobody
Feed your body
Your mind, your soul, my dear, comrade
Hey Aruandê
Hey Aruandê, comrade
Hey who will want
Hey who will want, comrade
Hey the capoeira
Hey the capoeira, comrade
Hey the Ragional
Hey the Ragional, comrade
Hey let’s play
Hey let’s play, comrade
Hey around the world
Hey around the world, comrade
Whoever is hungry is going to eat
Is going to eat, is going to eat
Whoever is hungry is going to eat
Time doesn’t wait for nobody
Whoever is hungry is going to eat
Feed your body
Whoever is hungry is going to eat
Your mind, your soul, my dear
Whoever is hungry is going to eat
Is going to eat, is going to eat
Whoever is hungry is going to eat
Whoever is thirsty is going to drink
Whoever is hungry is going to eat
If you don’t go, I will
Whoever is hungry is going to eat
Is going to eat, is going to eat
Whoever is hungry is going to eat
At the table of capoeira
Whoever is hungry is going to eat
Is going to eat, is going to eat
Whoever is hungry is going to eat
Whoever doesn’t eat is going to die
Whoever is hungry is going to eat
Whoever is hungry is going to eat
Whoever is hungry is going to eat
Whoever is hungry is going to eat
Oh whoever is hungry
I wrote this ladainha to process my grief at the passing of my teacher and friend Mestre Rá, and shared it at the quarterly Space for Underrepresented Genders A Roda in Portland:
Iê—
Viva meu mestre!
Viva meu mestre!
Um mestre de capoeira
Iê—
Um mestre de capoeira
E um mestre de vida também
Ora meu deus!
Viva meu mestre
E todos alunos dele
E todos ensinamentos dele
Viva seu Cassio Martinho
Obrigada meu mestre
Meu mestre e meu amigo
Por favor mestre Rá
Agradeça seu Bimba
E seu Pastinha
Para mim
Iê viva meu deus
Iê viva me mestre
Iê viva capoeira
Translating:
Hey—
Long live my teacher!
Long live my teacher!
A master of capoeira
Hey—
A master of capoeira
And a master of life also
Oh my god!
Long live my teacher
And all of his students
And all of his teachings
Long live mister Cassio Martinho
Thank you my teacher
My teacher and my friend
Please, Mestre Rá
Thank mister Bimba
And mister Pastinha
For me
Hey— long live my god
Hey— long live my teacher
Hey— long live capoeira
Here is a recording of me singing this ladainha (or download mp3):
“Mande Um Abraço Pra Ela” is a love song to capoeira by Mestre Rá. Verses and coros (in red):
Capoeira que vem da Bahia
Vem da terra de São Salvador
Mande um abraço pra ela
E diga pro meu amor
Diga que estou pra morrer de saudade[1]
Capoeira me chamou
Diga que estou pra morrer de saudade
Capoeira me chamou
Tico-tico[2] canta na mata
Sabiá[3] canta na laranjeira[4]
Tico-tico canta na mata
Sabiá canta na laranjeira
Nunca vi roda de samba[5]
Sem jogo de capoeira
Nunca vi roda de samba
Sem jogo de capoeira
Ê biriba[6] é pau de fazê berimbau
Biriba é pau
De fazê berimbau
Biriba é pau
De fazê berimbau
Translating verses and coros (in red):
Capoeira that came from Bahia
From the land of São Salvador
Give her a hug
And tell her of my love
Say I am dying of longing[1]
Capoeira called me
Say I am dying of longing
Capoeira called me
Tico-tico[2] sings in the forest
Sabiá[3] sings in the orange tree[4]
Tico-tico sings in the forest
Sabiá sings in the orange tree
Never saw roda de samba[5]
Without the game of capoeira
Never saw roda de samba
Without the game of capoeira
Eh biriba[6] is wood for making berimbau Biriba is wood
For making berimbau
Biriba is wood
For making berimbau
NOTES:
[1] The word ‘saudade’ is difficult to translate directly into English. It means something like profound emotions of longing and nostalgia resulting from a state of loss or separation.
[2] The tico-tico is a small songbird common to much of South America and Brazil. In Brazilian culture it sometimes symbolizes rural life and a musical vagabond.
[3] Sabiá means ‘thrush’ in English, but in this case specifically refers to sabiá-larangeira (the red-bellied thrush in English), which is a very popular bird in Brazilian culture, often symbolizing love, home, childhood and good things.
[4] The orange tree is not native to South America or Brazili (and is in fact a cultivated hybrid, not a wild type), and it implies the garden and agriculture, in contrast to the forest (mata) where tico-tico sings.
[5] Roda de samba is an old root of the samba tradition, and emerged alongside capoeira from the same Afro-Brazilian culture.
[6] Biriba (or biriba-branca) is a tree and the wood of a tree commonly used to make berimbaus in Brazil.
Mestre Lucas Corvo shared this song with us at our batizado and formatura this year. Verses and coros (in red):
Eu vi Bem-te-vi[1] jogando
Eu vi Bem-te-vi jogar
Eu vi Bem-te-vi na roda
Bem-te-vi estava lá
Eu vi Bem-te-vi jogando
Eu vi Bem-te-vi jogar
Eu vi Bem-te-vi na roda
Bem-te-vi estava lá
Eu chega pra numa roda
E quem tava lá?
Era Bem-te-vi jogando
Capoeira sem parar
Eu vi Bem-te-vi jogando
Eu vi Bem-te-vi jogar
Eu vi Bem-te-vi na roda
Bem-te-vi estava lá
Cada canta uma reza
Cada reza uma oração
Eu vi Bem-te-vi jogando
Gameleira no chão[2]
Eu vi Bem-te-vi jogando
Eu vi Bem-te-vi jogar
Eu vi Bem-te-vi na roda
Bem-te-vi estava lá
Translating verses and coros (in red):
I saw Bem-te-vi[1] playing
I saw Bem-te-vi play
I saw Bem-te-vi in the roda
Bem-te-vi was there
I saw Bem-te-vi playing
I saw Bem-te-vi play
I saw Bem-te-vi in the roda
Bem-te-vi was there
I arrive at a roda
And who was there?
It was Bem-te-vi playing
Capoeira non-stop
I saw Bem-te-vi playing
I saw Bem-te-vi play
I saw Bem-te-vi in the roda
Bem-te-vi was there
Every song a prayer
Every prayer an orison
I saw Bem-te-vi playing
Gameleira on the ground[2]
I saw Bem-te-vi playing
I saw Bem-te-vi play
I saw Bem-te-vi in the roda
Bem-te-vi was there
NOTES:
[1] The bem-te-vi (also bentevi, pituã, pitaguá, and triste-vida in Portuguese, or ‘great kiskadee’ in English) is a small noisy predatory songbird (its Portuguese name is eponymous with an onomatopoeia for its song, which is also the case for ‘kiskadee’ in English).
[2] A gameleira is a family of fig-related trees, some of which have leaves used in the preparation of Afro-Brazilian rituals. The phrase “gameleira no chão” is found in many capoeira songs and signifies that someone—in this case Bem-te-vi—put a large tree down on the floor (i.e. someone small and skilled took down someone large).
Here is a low-quality recording of Mestre Lucas teaching me the song a capella (or download mp3):
Material from 5/25/2024
Brought to us by Shakira! I believe written by Mestre Marcelo. This recording of “Eu Vou Botar Minha Rede Na Veranda” is a little different in melody and rhythm than the one Shakira sings. Verses and coros (in red):
Eu vou botar minha rede na veranda
Eu quero ver minha rede balançar
Balança rede Ioiô[1]
Balança rede Iaiá[2]
Eu vou botar minha rede na veranda
Eu quero ver minha rede balançar
Balança rede Ioiô
Balança rede Iaiá
Translating verses and coros (in red):
I am going to hang my hammock on the verandah
I want to watch my hammock sway
Sway, Ioiô[1]
Sway, Iaiá[2]
I am going to hang my hammock on the verandah
I want to watch my hammock sway
Sway, Ioiô
Sway, Iaiá
NOTES:
[1] ‘Ioiô’ is a diminutive term for a son of the enslaver/slave master derived from senhor. It has since become a term of respect and endearment for an older man in the community, but is becoming archaic in this sense.
[2] ‘Ioiá’ is a diminutive term for a daughter of the enslaver/slave master derived from senhora. It has since become a term of respect and endearment for an older woman in the community, but is becoming archaic in this sense.
This is a song I first heard taught by Profesora Formiguinha (now a contramestra). I believe it may have been written by Mestre Minha Velha in Los Angeles. Verses and coros (in red):
Aqui do lado tem uma lagoa
Ai ai ai ai ai
Aqui do lado tem uma vista boa
Ai ai ai ai ai
Aqui do lado tem um mar para nadar
E lá em cima tem a lua para viajar
Aqui do lado tem um mar para nadar
E lá em cima tem a lua para viajar
Veija veija veija veija
Ai ai ai ai ai
Veija veija veija veija
Ai ai ai ai ai
Translating verses and coros (in red):
Here on the side there is a lagoon
Oh oh oh oh oh
Here on the side there is a good view
Oh oh oh oh oh
Here on the side there is a sea to swim in
And above is the moon to travel by
Here on the side there is a sea to swim in
And above is the moon to travel by
Mestre Pedro Cruz taught us “Mercado Modelo Salvador” (link is to the song’s author Mestre Gajé performing it), and which brings many memories for capoeiristas who have been in Salvador, Bahia! It is one of the playful songs where you have to listen to know which response you are supposed to give! Much like “Sobo No Coqueiro, Tira Coco” and other songs. Verses and coros (in red):
Quem passa na Cidade Baixa[1]
Sobe de elevador[2] (NOTE: This coro follows the line above!)
Quem passa na Cidade Alta[3]
Desçe de elevador (NOTE: This coro follows the line above!)
Pra chegar à praça Cairu[4]
Mercado modelo[5] Salvador
Ié ié ié ié ié ié
Ô ioio io io io io io
Ié ié ié ié ié ié
Ai aiai aiai aiai
Translating verses and coros (in red):
Who passes through the lower city[1]
Takes the elevator[2] up (NOTE: This coro follows the line above!)
Who passes through the upper city[3]
Takes the elevator down (NOTE: This coro follows the line above!)
To get to Cairu Plaza[4]
Mercado Modelo,[5] Salvador
Ié ié ié ié ié ié
Ô ioio io io io io io
Ié ié ié ié ié ié
Ai aiai aiai aiai
NOTES:
[1] The city center of Salvador, Bahia is a ‘split-level’ city! There’s a pretty sheer cliff, and the ‘lower city’ is at the bottom of it.
[2] The Elevador Lacerda is a major landmark in Salvador, Bahia. It connects the ‘upper city’ and the ‘lower city’. The Elevador Lacerda is also one of only three municipal elvators (i.e. public transit run by local government) in the world! Another in is the Elevador de Santa Justa in Lisbon, Portugal (so maybe this is a Luso-cultural thing ;), and the third is the Oregon City Municipal Elevator, just south of us! There's an ice-cream parlor at the top of the Elevador Lacerda and they make a sundae-like desert called a ‘Dusty Miller’ (chocolate ice cream, with lady finger cookies toped with malt powder) named after one of the American baseball players with that name (but I am not sure which). At least one capoeira mestre loves this treat!
[3] The ‘upper city’ at the top of the cliff includes the Pelourinho, and in that the Terreiro de Jesus, a nearby monument to Zumbi, and so much of Salvador’s cultural touchstones!
[4] The Cairu Plaza or Cairu Square (also Praça Maria Felipa after the revolutionary from Itaparica across the Bay of All Saints) is a very short walk from the base of the Elevador Lacerda, and there you will find Salvador’s nautical terminal, a manument to the City of Salvador, and the Mercado Modelo.
[5] The Mercao Modelo is a market serving as a tourist destination for visitors to Salvador (a little like Fisherman’s Wharf in San Francisco) where locally-produced artisinal foods and crafts are sold. It is located at the historical site of nautical commerce in Salavdor, and is also a location where enslaved Africans disembarked following the southern Atlantic crossing. Today capoeira is played and performed for tourists here as well.
Here is a recording of me solo demonstrating the melody a capella (or download mp3):
This is a medley shared by Mestre Lobão which combines these two high-energy songs. The medley has two sections, and each section ends with the singer leading, and the chorus repeating a line, and this get just repeat before moving from the first section to the second section, or for the second section to the first. Here are the verses and coro (in red):
Dendê[1] é do dendezeiro
Caju é do cajueiro
Mandinga[2] é do mandingeiro
Angola é dos Angoleiros
Eu já falei pra você
Angola é que tem dendê
Angola é que tem dendê
Angola é que tem dendê
Angola é que tem dendê
Angola é que tem dendê
Angola é que tem dendê
Angola é que tem dendê
Tum, tum, tum bateu na porta
Mariá vai ver quem é
Se é o capoeira!
Chega na ponte em pé
Bota pra rodar[3] Zezé[4]
Bota pra rodar Zezé
Bota pra rodar Zezé
Bota pra rodar Zezé
Bota pra rodar Zezé
Bota pra rodar Zezé
Bota pra rodar Zezé
Bota pra rodar Zezé
Emboladinho, emboladinho, emboladinho
Emboladinho, emboladinho, emboladinho
Emboladinho, emboladinho, emboladinho
Emboladinho, emboladinho, emboladinho
Translating verses and coro (in red):
Dendê[1] is from the dendezeiro palm tree
Cashew is from the cashew tree Mandinga[2] is from the mandingeiro
Angola is from the Angoleiros
I already told you
Angola is what has dendê
Angola is what has dendê
Angola is what has dendê
Angola is what has dendê
Angola is what has dendê
Angola is what has dendê
Angola is what has dendê
Bang, bang, bang, knocks on the door
Mariá goes to see who it is
It's a capoeira!
Arrives at the door standing on their feet!
Get it rolling,[3] Joe[4]
Get it rolling, Joe
Get it rolling, Joe
Get it rolling, Joe
Get it rolling, Joe
Get it rolling, Joe
Get it rolling, Joe
Get it rolling, Joe
All rolled up together, all rolled up together, all rolled up together
All rolled up together, all rolled up together, all rolled up together
All rolled up together, all rolled up together, all rolled up together
All rolled up together, all rolled up together, all rolled up together
NOTES:
[1] Dendê is the red oil of the dendezeiro palm tree. It is solid at room temperature, and is used in Afro-Brazilian cooking to add richness and enchance the flavor of food. Especially in the north of Brazil, and in Afro-Brazilian culture it connotes richness, goodness, saveur… kind of like the idomatic meaning of ‘buttah’ in American English. Her the singer is traveling to Bahia (a state in the northeast of Brazil) to get some of that good flavor!
[2] In capoeira traditions mandinga frequently refers to a kind of tricksie sorcery practiced by mandingeiros/as/es. Sometimes that is a literal sorcery, as in legends of Mestre Besouro Mangangá having a corpo fechado which could not be pierced by bullets or knives, or being able to turn invisible, or transform into a non-human animal. But mandinga also refers to the skills of incredible trickiness and skills in the jogo, which leave those playing and watching amazed and asking “How did that happen?!” More broadly, Mandinga describes a West African ethnic group (also known as Mandinka and Malinke), from whom many were enslaved and transported to Brazil.
[3] I have seen versions of this song with ‘rodar’ (meaning to roll or rotate) and with ‘roda’ (i.e. the circle we play in). The first version means roughly ‘get it rolling’ while the second means roughly ‘get it to the roda’. Each works, but since the last coro is about emboldinho/all rolled up together, I went with the first version.
[4] ‘Zezé’ is a diminutive of the name José or even of Joseph or Jozeph. I might be wrong, but I don’t believe this is about a specific person named Zezé, but kind of like in English when we say ‘Listen, Jack!’ without meaning a person named Jack.
“Ela Joga Capoeira” is a ladainha written by Mestra Suelly and published as part of Mestre Acordeon’s album Capoeira Voices Volume II: Força Baiana. Here are the verses:
Na lagoa do Abaeté[1]
Na lagoa do Abaeté
Encontrei Dona Sinhá
Tava lavando abada, ora meu Deus
Pra dançar no Candomblé
Ela joga capoeira
Ela joga capoeira
Todos sabe como é
Joga homen e meninos,[2] ora meu Deus
E também joga mulher
Mestre Pastinho falou
E Mestre Bimba confirmou
Todos podem aprender, ora meu Deus
General também dotour[3]
Sou mulher, eu sou María[4]
Sou mulher, eu sou María
Capoeira de valor
Doze homen[5] me chamavem, ora meu Deus
É melhor saber quem sou, câmara
Translating:
At the Abaeté lagoon[1]
At the Abaeté lagoon
I met Dona Sinhá
She was washing abadas, oh my God
To dance in Candomblé
She plays capoeira
She plays capoeira
Everyone knows how it is
Men and children[2] play, oh my God
And women also play
Mestre Pastinho said
And Mestre Bimba confirmed
Everyone can learn, oh my God
General and also doctor[3]
I am woman, I am María[4]
I am woman, I am María
Capoeira of value
‘Twelve men’[5] they called me, oh my God
It is better they know who I am, comrade
NOTES:
[1] Lagoa do Abaeté is a lagoon in Itapuã just over six miles north of the city center of Salvador (and is where Mestre Acordeon, Mestra Suelly’s husband, grew up). It is also the site of the Ilê Abassá de Ogum which is a Candomblé terreiro, founded by Mãe Gilda de Ogum.
[2] ‘Meninos’ could be translated as ‘boys’ or as ‘children’ implying mixed genders, I am translating as the latter.
[3] The phrase ‘general também dotour’ is used in many ladainhas, including by Mestre Pastinha.
[4] Catholicism has deep roots in Brazil, and in Salvador, Baiha, including through syncretic religion. The Brazilians are big on the Marias as manifestations of women in a spiritual and earthly sense. In capoeira's history there are also many!
[5] ‘Doze homen’ was a legendary woman named Maria who was reportedly a samibsta and capoeirista active in Salvador, Bahia in the 1920s and 1930s. Her apelido is, perhaps, because she was likened to having the strength of twelve men.
We practiced this ladainha in anticipation of singing it at the first SUGAR on International Women’s Day. Here is a recording of us practicing as lead by Instrutore Rainha (or download mp3):
At the February event hosted by Contramestre Vira Lata, Mestre Bodinho shared the lovely “Vadeia Sinhá e Sinhô”. Here’s a recording of him singing the melody a capella: (or download mp3):
And here are the verses and coro (in red):
Vadeia[1] sinhá e sinhô
Vadeia iaiá e ioiô
Vadeia quem tem axé pra vadiar
Vadeia sinhá e sinhô
Vadeia iaiá e ioiô
Vadeia quem tem axé pra vadiar
Vadeia
Sinhá e sinhô
Vadeia
Iaiá e ioiô
Vadeia
Quem tem axé pra vadiar
Translating verses and coro (in red):
Wander,[1] mistress and master
Wander, dear misstress and master
Wander, whoever has the axé to wander
Wander, mistress and master
Wander, dear misstress and master
Wander, whoever has the axé to wander
Wander
Mistress and master
Wander
Dear mistress and master
Wander
Whoever has the axé to wander
NOTES:
[1] A conjugation of the verb vadiar which does not translate easily. Could mean to wander, to fuck around, to bum about, to playfully mess around and similar.
Mestre Pedro Cruz loves to sing and have his students sing “Fui Lá Na Bahia”. Here are the verses and coro (in red):
Fui lá na Bahia buscar coco de dendê[1]
Fui lá na Bahia buscar coco de dendê
Se você é bom capoeira joga é pra povo ver (alternately: Se você é bom capoeira joga e que eu quero ver)
Se você é bom capoeira joga é pra povo ver
No terreiro[2] de ioiô[3] no terreiro de iaiá[4]
No terreiro de ioiô no terreiro de iaiá
Capoeira começa a noite cedo vai até o sol raiar
Capoeira começa a noite cedo vai até o sol raiar
Fui lá na Bahia buscar coco de dendê
Fui lá na Bahia buscar coco de dendê
Se você é bom capoeira joga é pra povo ver
Se você é bom capoeira joga é pra povo ver
No terreiro de ioiô no terreiro de iaiá
No terreiro de ioiô no terreiro de iaiá
O no som do berimbau o pandeiro vai marcar
O no som do berimbau o pandeiro vai marcar
Fui lá na Bahia buscar coco de dendê
Fui lá na Bahia buscar coco de dendê
Se você é bom capoeira joga é pra povo ver
Se você é bom capoeira joga é pra povo ver
No terreiro de ioiô no terreiro de iaiá
No terreiro de ioiô no terreiro de iaiá
O no som do pandeiro o agogô vai marcar
O no som do pandeiro o agogô vai marcar
Fui lá na Bahia buscar coco de dendê
Fui lá na Bahia buscar coco de dendê
Se você é bom capoeira joga é pra povo ver
Se você é bom capoeira joga é pra povo ver
No terreiro de ioiô no terreiro de iaiá
No terreiro de ioiô no terreiro de iaiá
O no som desse agogô o tambor bate Ijexá[5]
O no som desse agogô o tambor bate Ijexá
Fui lá na Bahia buscar coco de dendê
Fui lá na Bahia buscar coco de dendê
Se você é bom capoeira joga é pra povo ver
Se você é bom capoeira joga é pra povo ver
No terreiro de ioiô no terreiro de iaiá
No terreiro de ioiô no terreiro de iaiá
Capoeira começa a noite cedo vai até o sol raiar
Capoeira começa a noite cedo vai até o sol raiar
Translating verse and coro (in red):
I went to Bahia to the dendê coconut[1]
I went to Bahia to the dendê coconut
If you are a good capoeira, play and people will see it (alternately: If you are a good capoeira, play! I want to see)
If you are a good capoeira, play and people will see it
In the terreiro[2] of ioiô,[3] in the terreiro of iaiá[4]
In the terreiro of ioiô, in the terreiro of iaiá
Capoeira starts in the evening, and goes until the sun rises
Capoeira starts in the evening, and goes until the sun rises
I went to Bahia to the dendê coconut
I went to Bahia to the dendê coconut
If you are a good capoeira, play and people will see it
If you are a good capoeira, play and people will see it
In the terreiro of ioiô, in the terreiro of iaiá
In the terreiro of ioiô, in the terreiro of iaiá
In the sound of the berimbau the pandeiro will mark
In the sound of the berimbau the pandeiro will mark
I went to Bahia to the dendê coconut
I went to Bahia to the dendê coconut
If you are a good capoeira, play and people will see it
If you are a good capoeira, play and people will see it
In the terreiro of ioiô, in the terreiro of iaiá
In the terreiro of ioiô, in the terreiro of iaiá
In the sound of the pandeiro the agogô will mark
In the sound of the pandeiro the agogô will mark
I went to Bahia to the dendê coconut
I went to Bahia to the dendê coconut
If you are a good capoeira, play and people will see it
If you are a good capoeira, play and people will see it
In the terreiro of ioiô, in the terreiro of iaiá
In the terreiro of ioiô, in the terreiro of iaiá
In the sound of this agogô the drum will beat Ijexá[5]
In the sound of this agogô the drum will beat Ijexá
I went to Bahia to the dendê coconut
I went to Bahia to the dendê coconut
If you are a good capoeira, play and people will see it
If you are a good capoeira, play and people will see it
In the terreiro of ioiô, in the terreiro of iaiá
In the terreiro of ioiô, in the terreiro of iaiá
Capoeira starts in the evening, and goes until the sun rises
Capoeira starts in the evening, and goes until the sun rises
NOTES:
[1] Dendê is the red oil of the dendezeiro palm tree. It is solid at room temperature, and is used in Afro-Brazilian cooking to add richness and enchance the flavor of food. Especially in the north of Brazil, and in Afro-Brazilian culture it connotes richness, goodness, saveur… kind of like the idomatic meaning of ‘buttah’ in American English. Her the singer is traveling to Bahia (a state in the northeast of Brazil) to get some of that good flavor!
[2] Literally ‘yard’, a terreiro is a sacred space in Afro-Brazilian culture, especially around Candomblé religious ceremonies and rituals where dance and song occur.
[3] ‘Ioiô’ is a diminutive term for a son of the enslaver/slave master derived from senhor. It has since become a term of respect and endearment for an older man in the community, but is becoming archaic in this sense.
[4] ‘Ioiá’ is a diminutive term for a daughter of the enslaver/slave master derived from senhora. It has since become a term of respect and endearment for an older woman in the community, but is becoming archaic in this sense.
[5] Ijexá refers to the rhythm played on the drum in a capoeira bateria (traditionally an atabaque, but often a conga in the U.S.). The term and the music derives from Yoruba people and Yoruba religion (via Candomblé).
Here’s a not high-quality recording of us practicing: (or download mp3):
Vim no navio de Aruanda,[1] Aruanda ê
Vim no navio de Aruanda, Aruanda á
Porque me trouxeram de Aruanda
Pra que me trouxeram de Aruanda
Vim no navio de Aruanda, Aruanda ê
Vim no navio de Aruanda, Aruanda ê
Vim no navio de Aruanda, Aruanda á
Porque me trouxeram de Aruanda
Pra que me trouxeram de Aruanda
Vim no navio de Aruanda, Aruanda ê
Traslation of the verso and coro (in red):
I came on a ship from Aruanda[1]
I came on a ship from Aruanda
why they brought me from Aruanda
For what I was brought from Aruanda
I came on a ship from Aruanda
I came on a ship from Aruanda
I came on a ship from Aruanda
why they brought me from Aruanda
For what I was brought from Aruanda
I came on a ship from Aruanda
NOTES:
[1] ‘Aruanda’ denotes where enslaved African Brazilians came from, and connotes a better place, the heritage of the enslaved people, and even a place of mystical connection to the world. (It reminds me a little of the idea of Aztlán and its symbolism in contemporary Chicano culture.)
“Colga Velho” is a beautiful song by Mestre João do Morro, who is a student of Mestre Medicina (I will track down the name shortly).
Colega velho do tempo do cativeiro
Colega velho do tempo do cativeiro
Nego jogava capoeira o dia inteiro
Nego jogava capoeira o dia inteiro
Colega velho do tempo da escravidão
Colega velho do tempo da escravidão
Nego lutava em busca da libertação
Nego lutava em busca da libertação
O le le le
Bata atabaque pra bater
O la la la
O berimbau pra retocar
So da Bahia capital é Salvador
So da Bahia capital é Salvador
Onde seu Bimba, seu Pastinha ensinou
Onde seu Bimba, seu Pastinha ensinou
O le le le
Bata atabaque pra bater
O la la la
O berimbau pra retocar
Aquele tempo eu sei que ja não volta mais
Aquele tempo eu sei que ja não volta mais
O capoeira lhe balança mais não cai
O capoeira lhe balança mais não cai
O le le le
Bata atabaque pra bater
O la la la
O berimbau pra retocar
The translation:
Old colleague the time of captivity
Old colleague the time of captivity
The Black dude played capoeira all day
The Black dude played capoeira all day
Old colleague the time of slavery
Old colleague the time of slavery
The Black dude struggled in search of liberty
The Black dude struggled in search of liberty
O le le le
Bang the atabque to hit
O la la la
The berimbau to ‘replay’[1]
Bahia's only capital is Salvador
Where Mr. Bimba, Mr. Pastinha taught
O le le le
Bang the atabque to hit
O la la la
The berimbau to ‘replay’
I know that time will never come again
The capoeira shakes him, but he doesn’t fall
O le le le
Bang the atabque to hit
O la la la
The berimbau to ‘replay’
[1] The verb ‘tocar’ means both ‘to touch’ and ‘to play’ and is the verb used in Portuguese for playing the barimbau (contrast with the verb ‘bater’ meaning ‘to hit’ which is the verb used for playing a drum like the atabaque or the conga). The verb ‘retocar’ literally traslates as ‘to re-play’ or ‘to re-touch’, but connotes that the rhythm played on the berimbau brings together the music of the other instruments, and makes them groove.
We practiced a playful and very short song with the following lyrics:
Sobe no coqueiro, tira o coco
Pra fazer cocada
Toque essa banguela mandingada
Com muito dende
And that's about it! The playfulness of the song is that the person leading it doesn’t have to sing “Sobe no coqueiro…” followed by “Toque essa banguela…” and repeat: so the chorus need to listen and be sure that the correct response is sung to the correct line! (It's a little like “A maré ta cheia, iaiá” and the “mão pelo pé” songs that way). The translation shows why the correct response need to be sung to the correct call:
Climb the palm tree, take the coconut
In order to make cocada[1]
Play the rhythm ‘banguela’[2] mandingada[3]
With more dende[4]
[1] Cocada is a sweet treat made out of sugar cane juice and coconut… kind of like a cookie, kind of like coconut candy.
[2] A capoeira toque that inverts São Bento Grande de Regional to go Tch-Tch Dong Ding Ding.
[3] Feminine for a person who has been bewitched (presumably by a mandingeiro/a/e).
[4] Dende is the red palm kernel oil used in Bahiana food. The line is like saying “With more buttah” in English.
We practiced a few portions of Mestre Boa Voz’s song “Dindinha”, from his album Reflexões.
Foi na la mata de Sinhá
Eu ouvi a Iúna canta
Foi na la mata de Sinhá
Eu ouvi a Iúna canta
Dindinha ê—
Dindinha ê—
Dindinha ê—
Dindinha—
Dindinha ê—
Dindinha ê—
Dindinha ê—
Dindinha—
Chega pra cá, dindinha
Vem escutar, dindinha
Eu nunca vi a Iúna canta
Chega pra cá, dindinha
Vem escutar, dindinha
Eu nunca vi a Iúna canta
There's stuff to unpack here, and I do not yet understand the meaning of the song. I can say that “dindinha” means “little girl”. “Iúna” is a town in Espirito Santo state, is the name of a toque played on the berimbau, and also the name of a jogo or tradition around the jogo played to this music (and what that jogo or tradition are differs from one group or teaching lineage to another). I don’t know if Iúna is also a person, or bird or animal, or something else also. I will edit this entry as I learn more.
And I will post a recording of us practising this much of the song in the near future.
Material from 9/16/2023
The pandeiro is one of the main instruments of the capoeira bateria. Its basic pattern is three quarter notes and then a quarter note rest starting on the one. If we say it while we play it, it goes:
Dum BAH Dum
Click below to listen to me demonstrating this basic pandeiro rhythm: (or download mp3):
Here’s how we say it while we play it for a more elaborate version of the basic pandeiro pattern:
Dum BAH Dum Shake-Ah dit
Click below to listen to me demonstrating this basic pandeiro rhythm: (or download mp3):
Finally, here are some variations for pandeiro. These are sparingly dropping in, depending on the context of the music and the jogo. Mostly leading with two repetitions of the elaborate pandeiro rhythm, and saying it while we play it these go:
Dum BAH Dum Shake-Ah dit Dum BAH Dum Shake-Ah dit Dum BAH Dum BAH Dum BAH Dum dit
Dum BAH Dum Shake-Ah dit Dum BAH Dum Shake-Ah dit Dum BAH Dum-BAH BAH Dum BAH Du dit
Dum BAH Dum Shake-Ah dit Dum BAH Dum Shake-Ah dit Dum-BAH-BAH-BAH Dum BAH Dum Dum-Dum BAH Dum dit
Dum BAH Dum Shake-Ah dit Dum BAH Dum Shake-Ah dit Dum dllll Dum Shake-Ah dit
Dum BAH Dum Shake-Ah dit Dum dllll Dum dllll Dum dllll Dum Shake-Ah dit
Dum BAH Doing Shake-Ah dit Dum BAH Doing Shake-Ah dit (this was not captured well in the recording)
Click below to listen to me demonstrating these pandeiro rhythm variations: (or download mp3):
The song “A Bananeira Caiu” came up yesterday. I like the many layers of meaning in it. At the literal level, a big knife (“facão”, like a machete) hits the base of the banana tree, and it falls. On another level, this is a song played sometimes when a child plays with an advanced adult capoeirista. Relatedly, when someone who is young in the art, a beginner, plays too big for their britches—an unskilled yet aggressive game—with someone with many years of capoeira experience, like a mestre or contramestre, the song gives a wink at the dynamic of the game. Finally, “A Bananeira Caiu” signals to experienced capoeiristas that in this game the take downs—tesouros, bandas, arrasteiras, arrastãos, vingativas, cabeçadas, etc.—should really take the other person down. Here are the lyrics, including some new to me from yesterday:
Mas facão bateu embaixo
A bananeira caiu!
Ô facão bateu embaixo
A bananeira caiu!
Cai, cai bananeira!
A bananeira caiu! (This line of the chorus sung at a higher pitch)
Cai, cai, cai a bananeira ai ai ai
A bananeira caiu!
Translation:
So the big knife hit low
The banana tree fell!
The big knife hit low
The banana tree fell!
Banana tree falls, falls
The banana tree fell!
The banana tree falls, falls, falls, oh my!
Mas eu pisei na folha seca
Eu ouvi fazer “chué, chuá”
“Chué, chué”
“Chué, chuá”
Ouvi fazer “chué, chuá”
“Chué, chué chué, chué”
“Chué, chué chué, chuá”
Ouvi fazer “chué, chuá”
Joga o[1] nego para cima, deixa o nego vadiar
Ouvi fazer “chué, chuá”
Mas quem não pode com mandinga[2], não carrega patuá[3]
Ouvi fazer “chué, chuá”
Na volta que o mundo deu. Na volta que o mundo dá[4]
Translation:
I stepped on the dried leaf
I heard [it] go “crunch crunch”
Crunch crunch
Crunch crunch
Play the high game Black man, Black man leaves bruised
I heard [it] go “crunch crunch”
But those who can’t carry mandinga[2], don’t wear the patuá[3]
I heard [it] go “crunch crunch”
In the turn that the world took. In the turn that the world has taken[4]
I heard [it] go “crunch crunch”
NOTES
[1] In Brazilian Portuguese, written words ending in a vowel which are followed immediately by a vowel elide and the second vowel is what is pronounced. So “joga o” is pronounced like “jogo”. Notice that this happens again with “deixa o” which is pronounced like “deixo”.
[2] In capoeira traditions mandinga frequently refers to a kind of tricksie sorcery. Sometimes that is a literal sorcery, as in legends of Mestre Besouro Mangangá having a corpo fechado which could not be pierced by bullets or knives, or being able to turn invisible, or transform into a non-human animal. But mandinga also refers to the skills of incredible trickiness and skills in the jogo, which leave those playing and watching amazed and asking “How did that happen?!” More broadly, Mandinga describes a West African ethnic group (also known as Mandinka and Malinke), from whom many were enslaved and transported to Brazil.
[3] A patuá is a kind of amulet sometimes used ritually in candomblé. Historically, the patuá was associated with enslaved people from Muslim ethnic group or groups originating in the northern enslaving regions in West Africa. Because these people were literate (strongly contrasting with enslaved people from many other ethnic groups), they often held a social status with more license… for example to travel unattended on errands. The patuã had its origins in small pieces of Quranic scripture carried in a sanctified pouch. My understanding as that wearing a patuá was sometimes appropriated by enslaved members of other ethnic groups, in order to pass themselves off as part of the enslaved Muslim class and so obtain some of the social protection, and perhaps some of the spiritual protection that went with the amulet. If someone, such as a police officer or an actual Muslim, suspect that a pearson wearing a patuá was not actually Muslim or literate, they might check by asking them to quote the Quaran, speak Arabic, or read. Thank you Contramestre Vira Lata for this historical note.
[4] An idiom roughly corresponding to the English language “What goes around, comes around.”
A simple common song “Areia do Mar” has many variations and verses. Here’s lyrics for one version we commonly sing in Grupo São Salvador (coro is in red):
Ô areia—
Ô areia
Ô areia—
Ô areia
Ô areia—
Ô areia do mar
Ô areia—
Ô areia
Dá licença aí
Areia!
Que eu queiro passar
Areia!
Areia do rio
Areia!
Areia do mar
Areia!
Translating the verso and coro:
Oh sand
Oh sand
Oh sand
Oh sand
Oh sand
Oh sand of the sea
Oh sand
Oh sand
Excuse me there
Sand!
I want to pass through
Sand!
Sand of the river
Sand!
Sand of the sea
Sand!
Toque Cavalaria was traditionally played as a warning that the police were coming. Traditionally the toque also signifies that an unfamiliar person has entered the capoeira space, and that capoeiristas should play a simple game, and be wary of the potential for the unfamiliar player being unfamiliar with the local rituals, or playing with aggression or trickiness. Cavalaria comes in a few versions. If we say it while we play it, this simple version of Cavalaria goes:
Don-ch Don-ch Dong Ding
Don-ch Don-ch Dong Ding
Dong Dong Dong Dong Ding (these two measures are a common variation)
Dong Dong Dong Dong Dong Ding (another common variation)
Click below to listen to me demonstrating this simple version of the Cavalaria toque (or download mp3):
(Added 9/15/2023) A more ‘intermediate’ version of toque Cavalaria adds an extra chiado. If we say it while we play it, this intermediate version of Cavalaria goes:
Dong Tch Tch Dong Tch Tch Dong Ding
Dong Tch Tch Dong Tch Tch Dong Ding
Dong Dong Dong Dong Ding (these two measures are a common variation)
Dong Dong Dong Dong Dong Ding (another common variation)
Click below to listen to me demonstrating this intermediate version of the Cavalaria toque (or download mp3):
(Added 9/15/2023) Finally, here is a more ‘advanced’ version of toque cavalaria. If we say it while we play it, this advanced version of Cavalaria goes:
Don-ch Tch Don-ch Tch Dong Ding
Don-ch Tch Don-ch Tch Dong Ding
Dong Dong Dong Dong Ding (these two measures are a common variation)
Dong Dong Dong Dong Dong Ding (another common variation)
Click below to listen to me demonstrating this advanced version of the Cavalaria toque (or download mp3):
(Added 9/15/2023) Toque Cavalaria is really varied, and you will encounter versions that sound more or less like what I have demonstrated here. For example, here’s a documented version by Mestre Bimba (for those of you who read Western music notation… the “<” symbols refer to umuting) as recorded in the 1977 ethnomusicology text The Berimbau-de-barriga and its toques by Kay Shaffer (this version is very similar to the version notated by Mestre Acordion in Capoeira: A Brazilian Art Form):
Material from 8/26/2023
We went over the coro from the song “Viola de Violeiro” by Mestre Fanho, but discovered some lack of clarity about melody and rhythm since we did not have a recording to work from. More to come, but for now, here are the full lyrics of the song (coro is in red):
Viola de violeiro
viola de cantador
Vem chegando o capoeira
berimbau já lhe chamou
Viola de violeiro
viola de cantador
Vem chegando o capoeira
berimbau já lhe chamou
O que eu levo de esta vida
É o axé dos meus irmãos
É o amor de uma morena
Com calor no coração
Eu não tenho paradeiro
Não sou bom e não sou mal
Mas não pos so resistir
Ao toque do berimbau
Viola de violeiro
viola de cantador
Vem chegando o capoeira
berimbau já lhe chamou
Ô, os mistérios desta vida
Eu ainda não descobri
O que dela vou fazer
Não preciso decidir
Eu começo a estremecer
Quando ouço um a viola
E quase sem perceber
Eu viajo nessa Angola
Viola de violeiro
viola de cantador
Vem chegando o capoeira
berimbau já lhe chamou
Ô, o jeito que o gunga toca
Faz o corpo arrepiar
Debaixo do candeeiro
Eu vi a luz do luar
Vou lembrando da morena
Que me deu tanto calor
A saudade vai batendo
Saudade do meu amor
Viola de violeiro
viola de cantador
Vem chegando o capoeira
berimbau já lhe chamou
Translating the coro:
Viola of the viola-player
Viola of the singer
Capoeira is coming
Berimbau already called you
We broke down some common toques! We started with the toque Angola. If we say it while we play it, that goes:
Dong Ding Tch-Tch
Click below to listen to me demonstrating the Angola toque (or download mp3):
And we practiced the very common toque São Bento Grande de Angola. If we say it while we play it, that goes:
Ding Dong Dong Tch-Tch
Click below to listen to me demonstrating the São Bento Grande de Angola toque (or download mp3):
We also practice the toque São Bento Pequeno, which is like toque São Bento Grande de Angola, but omitting the second “Dong”. If we say it while we play it, that goes:
Ding Dong Tch-Tch
Click below to listen to me demonstrating the São Bento Pequeno toque (or download mp3):
Finally, we briefly practiced the toque São Bento Grande de Regional (SBR) and also called São Bento Grande de Bimba. We practiced SBR a few weeks ago, check out the instructions and recordings from 8/12/2023.
We went over the song “Dalila”, both following and leading. The song has several interesting structual characteristics: initially, lines of the song are led and responded to verbatim, and individual lines can be repeated several times, or omitted by the person leading the song before moving onto the next line. Also, the lines begin at different places in the measure. Here are the lyrics (coro is in red):
Ê— Dalila
Iê iê— Dalila o—
Ê—& Dalila
Iê iê— Dalila o—
Capoeira mandou lhe dizer, tambem
Capoeira mandou lhe chamar
Capoeira mandou lhe dizer, tambem
Capoeira mandou lhe chamar
Queiro falar
Com Dalila Dalila Dalila Dalila
Queiro falar
Com Dalila Dalila Dalila Dalila
Dalila! Dalila!
Ê—& Dalila
Iê iê— Dalila o—
O Dalila Dalila
Ê—& Dalila
Iê iê— Dalila o—
And here are the lyrics conveying information about where each line starts. The numbers indicate the count where the line starts; assuming he “Clap Clap Clap” of the palmas de Bimba as corresponding to the counts of 1, 2, and 3 with the count of 4 corresponding to the rest between the last and the first clap (coro is in red):
Ê—& [3]
Dalila [1]
Iê iê— [1]
Dalila o— [1]
Ê—& [3]
Dalila [1]
Iê iê— [1]
Dalila o— [1]
Capoeira man- [1]
-dou lhe dizer, tambem [1]
Capoeira man- [1]
-dou lhe chamar [1]
Capoeira man- [1]
-dou lhe dizer, tambem [1]
Capoeira man- [1]
-dou lhe chamar [1]
Canario broke down a slight variation on the São Bento Grande de Angola toque, which replaces the first chiado (“Tch”) with a hammer-off from the second open note (“Dong”), If we say it while we play it, that becomes:
Click below to listen to us practicing this variation on the SBA (São Bento Grande de Angla) toque (or download mp3):
We broke down the Idalina toque into its constituent notes. If we say it while we play it, in order they go:
First part: Dong Dong Ding Dong Don-ch Ding-ZZZ
Second part: Dong Dong-Dong Ding Dong Don-ch Ding-ZZZ
Click below to listen to us practicing the Idalina toque (or download mp3):
And click to listen to three of us practicing Idalina against São Bento Grande de Regional with variations improvised (or download mp3):
Material from 8/12/2023
(Lyrics for the coro are in red.)
Sabiá[1] cantou no pé da larangeira
Sabiá cantou no pé da larangeira
Vou tocar[2] meu berimbau e vou jogar[3] capoeira
Vou tocar meu berimbau e vou jogar capoeira, sabiá
Sabiá cantou no pé da larangeira
Sabiá cantou no pé da larangeira
Vou tocar meu berimbau e vou jogar capoeira
Vou tocar meu berimbau e vou jogar capoeira
Ela cantou ao som de uma viola[4]
Ela cantou ao som de uma viola
Vou fazer jogo de dentro, vou fazer jogo de fora
Vou fazer jogo de dentro, vou fazer jogo de fora
Sabiá cantou no pé da larangeira
Sabiá cantou no pé da larangeira
Vou tocar meu berimbau e vou jogar capoeira
Vou tocar meu berimbau e vou jogar capoeira
Ela cantou ao som do berimbau
Ela cantou ao som do berimbau
Vou fazer jogo de Angola, e também Regional
Vou fazer jogo de Angola, e também Regional
Sabiá cantou no pé da larangeira
Sabiá cantou no pé da larangeira
Vou tocar meu berimbau e vou jogar capoeira
Vou tocar meu berimbau e vou jogar capoeira
Sabiá cantou bonito de se ver
Sabiá cantou e é bonito de se ver
Vou jogar a capoeira e bater[5] maculelê
Vou jogar a capoeira e bater maculelê
Traslation of the verso and coro (in red):
Sabia[1] sang at the foot of the orange tree
Sabia sang at the foot of the orange tree
I’m going to play[2] my berimbau, and I’m going to play[3] capoeira
I’m going to play my berimbau, and I’m going to play capoeira, sabia
Sabia sang at the foot of the orange tree
Sabia sang at the foot of the orange tree
I’m going to play my berimbau, and I’m going to play capoeira
I’m going to play my berimbau, and I’m going to play capoeira
She sang to the sound of a viola[4]
he sang to the sound of a viola
I am going to make a close-in game, I’m going to make an open game
I am going to make a close-in game, I’m going to make an open game
Sabia sang at the foot of the orange tree
Sabia sang at the foot of the orange tree
I’m going to play my berimbau, and I’m going to play capoeira
I’m going to play my berimbau, and I’m going to play capoeira
She sang to the sound of the berimbau
She sang to the sound of the berimbau
I’m going to make a game of Angola, and also Regional
I’m going to make a game of Angola, and also Regional
Sabia sang at the foot of the orange tree
Sabia sang at the foot of the orange tree
I’m going to play my berimbau, and I’m going to play capoeira
I’m going to play my berimbau, and I’m going to play capoeira
Sabia sang beautiful to watch
Sabia sang, and it’s beautiful to see
I’m going to play my berimbau and play[4] maculelê
I’m going to play my berimbau and play maculelê
[2] The verb “tocar” means “to play” here, and connotes striking or especially touching the arame of the berimbau with the baqueta.
[3] The verb “jogar” also means “to play (a game)”.
[4] “Viola” here means the high-tuned berimbau which tends to play variations on the lead toque played by the medio berimbau
[5] The verb “bater” also means “to play” and connotes slapping or especially hitting the head of the atabaque or conga drum with the palm of the hand, or alternately, striking the maculelê sticks together.
“Sabiá Cantou” is a song written and recorded many times by Mestre Suassuna.
We practiced a meditative toque as an exercise to accustom our ears and berimbau chops around a strong ‘wah-wah’ like effect with muting and unmuting. This toque is performed slowly in four measures of three quarter notes (¾ time).
Begin by striking the open note (‘Dong’) fully muted on count 1. On count 2 completely unmute by pushing the berimbau away from your torso. Be sure to not unmute until the count of 2. Pull the berimbau back on count 3.
Repeat these three counts for two more measures. Conclude the pattern with three open notes fully unmuted. Then repeat these four measures.
Both strong and weak ‘wah-wah’ effects can be produced with the closed note (‘Ding’), although this takes a little more practice because there’s more muscular use of the pedra/dobrão.
You can listen to the strong ‘wah-wah’ muting exercise here (or download mp3):
We practiced a second meditative toque as an additional exercise to accustom our ears and berimbau chops around a weak or mild ‘wah-wah’ like effect with muting and unmuting. This toque is performed slowly in four measures of three quarter notes (¾ time).
Begin by striking the open note (‘Dong’) fully unmuted (berimbau away from your torso) on count 1. On count 2 completely mute by pulling the berimbau close to your torso. Be sure to not mute until the count of 2. Push the berimbau back on count 3.
Repeat these three counts for two more measures. Conclude the pattern with three open notes fully unmuted. Then repeat these four measures.
In contrast to the strong version of this exercise which centers attention on the ‘wah-wah’ effect, the weak version centers attention on the open note (‘Dong’), and uses the ‘wah-wah’ effect more for intonation or infection.
Both strong and weak ‘wah-wah’ effects can be produced with the closed note (‘Ding’), although this takes a little more practice because there’s more muscular use of the pedra/dobrão.
You can listen to the weak ‘wah-wah’ muting exercise here (or download mp3):
We broke down the São Bento Grande de Regional toque into its constituent notes. These are as I learned from Mestre Acordion. If we say it while we play it, in order they go:
Dong Tch Ding-ZZZ Tch Dong Dong Ding-ZZZ Tch
Click below to listen to us practicing vocalizing the toque (or download mp3):
And click to listen to three of us practicing the toque slowly with variations improvised (or download mp3):
Material from 8/5/2023
(Lyrics for the coro are in red.)
Andei, andei… andei
Para Curimar
Andei, andei… andei
Para Curimar
Andei, andei
Para Curimar
Para Curimar
Andei, andei
Andei, andei… andei
Para Curimar
I believe this may have been taken from the pop-samba recording “Andei Para Curimar” by Dona Ivone Lara, although the melody is different.
(Lyrics for the coro are in red.)
Vento forte é ventania
Vento forte é furacão
Vento forte é capoeira
Dentro do meu coração
