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MAS Field Experiment

Baiao is a popular musical style from northeastern Brazil that originated from Arabic culture. It is traditionally played with percussion instruments like drums, triangle, and accordion. The basic drumset pattern for Baiao uses a paradiddle sticking on the snare drum with bass drum and hi-hat playing an ostinato rhythm. The document provides 20 examples of drumset patterns for playing Baiao, varying the hands between different drums and cymbals like ride cymbal, snare, toms, and hi-hat. It encourages experimenting with dynamics and developing your own orchestrations to interpret the Baiao style.

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192 views2 pages

MAS Field Experiment

Baiao is a popular musical style from northeastern Brazil that originated from Arabic culture. It is traditionally played with percussion instruments like drums, triangle, and accordion. The basic drumset pattern for Baiao uses a paradiddle sticking on the snare drum with bass drum and hi-hat playing an ostinato rhythm. The document provides 20 examples of drumset patterns for playing Baiao, varying the hands between different drums and cymbals like ride cymbal, snare, toms, and hi-hat. It encourages experimenting with dynamics and developing your own orchestrations to interpret the Baiao style.

Uploaded by

YusufRoshd
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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by Duduka Da Fonseca

Baiao Patterns For The Drumset


Transcribed by Michael Lauren

Baiao is a popular form of music and dance On examples 6 and 7, the left hand moves to the hi-hat. The
from northeastern Brazil. It actually may right hand moves between the ride cymbal, snare, and floor tom.
have its origins in Arabic culture, since Make sure you open and close your hi-hat.
Islam expanded from North Africa to the
Iberian Peninsula in the seventh century.
Portugal, which colonized Brazil, was extra-
ordinarily affected by Islamic culture.
Baiao, in its traditional form, is played on a zabumba drum (a
wide, thin, double-headed drum), triangle, and accordion. Other
percussion instruments such as pandeiro, caxixi (small shakers),
agogo bells, and snare are also often used. The patterns played by
these individual instruments within baiao adapt well to the drum- Examples 8 and 9 have the left hand moving around the drums.
set. Example 8 alternates between the snare and high tom, while
Baiao was introduced to Rio de Janeiro and Sao Paulo by Luiz example 9 alternates between the snare, high tom, and floor tom.
Gonzaga in the 1940s. The infectious rhythm of baiao has had a
big effect on many different types of music, and can be found in
such styles as jazz, rock, fusion, and of course the samba hybrid
"sambaiao."
The basic drumset pattern for Baiao is based on a paradiddle
combination sticking (RLLR LLRL), and played on the snare
drum. The bass drum and hi-hat play a basic baiao rhythmic osti-
nato.
Here are four more drumset patterns for Baiao. The left hand
plays a cross-stick on the snare drum.

Once this pattern is mastered, try the following orchestrations.


In example 2, the right hand moves to the cymbal while the left
hand stays on the snare.

Example 3 has the right hand moving between the ride cymbal,
snare, and floor tom.

Example 4 has the right hand moving between the ride cymbal, Example 14 mixes the right hand of example 12 with the left
snare, middle tom, and floor tom. hand of example 1.

In example 5, the right hand is broken up between the ride cym- Now mix the right hand of example 10 with the left hand of
bal, snare, and the three toms, ascending in pitch. example 1.
Here's another sticking pattern (RRLR RLRL) for baiao. Try it
on the hi-hat first.

Now move your left hand onto the snare drum.

You can also keep the hi-hat closed in examples 16 and 17.
On example 18, the right hand moves from the hi-hat to the ride
cymbal. (Both examples 17 and 18 can be played on the snare with
a cross-stick.)

On examples 19 and 20 the sticking moves between the ride


cymbal, snare, and three toms. Example 19 has a descending tom
melody, while example 20 has an ascending tom melody. (Try
combining the two into a four-bar phrase once you're comfortable
with them individually.)

Be sure to experiment with dynamics with all of these examples:


All accents can be played at a variety of dynamic levels, including
not playing the accents at all.
These patterns are my personal interpretations of baiao. I
encourage you to listen to Brazilian music and experiment with
your own orchestrations.

Special thanks to Jose Barros for his historical insights.

Duduka Da Fonseca and Michael Lauren are both on the faculty


of Drummers Collective, New York City. Duduka is the author of
Brazilian Rhythms For The Drumset (Manhattan Music
Publishing), and Michael is the author of Welcome To Odd Times
(Why Not Music) and Understanding Rhythm (Manhattan Music
Publishing).

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