Timon Thalwitzer - Oficinas, CDs and Instructional Books

Oficinas, CDs and Instructional Books.
Teaching, Multiplying and Shaping

Maracatu de Baque Virado
in the period 19882010
Paper for the Seminar Musik(forschung) in Lateinamerika,

held by Regine Allgayer-Kaufmann
in the Summer Term 2010
at the Institut f
ur Musikwissenschaft, Universitat Wien.
Second version, revised by the author.
(First version: November 30, 2010.)
Timon Thalwitzer
January 15, 2015
Percussionist, mathematician and ethnomusicologist at the Department Of Musicology

at the University of Vienna. timon.thalwitzer@univie.ac.at
Thalwitzer: Maracatu de Baque Virado
Contents
1 Introduction
2 Maracatu de Baque Virado. An Historical Outline

2.1 16661988 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.2 19882010 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4
4
5
3 Teaching Maracatu de Baque Virado

3.1 Instructional Literature and Videos .
3.1.1 Batuque/Pecussion Ensemble
3.1.2 Drum Set . . . . . . . . . . .
3.1.3 Pandeiro . . . . . . . . . . . .
3.1.4 Atabaque/Timbal . . . . . . .
3.1.5 Remark . . . . . . . . . . . .
3.2 Workshops . . . . . . . . . . . . . . .
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4 References
4.1 Literature on Maracatu de Baque Virado . . . . . . . . . . . .
4.2 Instructional Material . . . . . . . . . . . . . . . . . . . . . .
4.3 Weblinks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Introduction
In February 2010, I had the opportunity to take part in an excursion to the

Carnaval Multicultural do Recife1 , as part of my studies at the Institute for
Musicology of the University of Vienna, Austria. In Recife, I came in contact
for the first time with maracatu de baque virado, also called maracatu-nacao
or maracatu-nacao, a music now extremely visible and popular in Recife.
It is commonly differentiated from a few other manifestations that are also
referred to as maracatu, like maracatu de baque solto2 in Recife, or maracatu
cearense in Fortaleza3 . Since I liked the music very much, I started to do
research on it. I soon learned that
1. There is quite a vivid maracatu scene not only in Recife, but in the
rest of the world as well. In particular, I can now confirm this for my
home continent, for Europe.
2. As few as twenty years ago, the situation was dramatically different.
This paper focusses on these past two decades. After summarizing the
history of maracatu de baque virado up to 1988 in a few sentences (Section 2.1), I will mention some of the things that in my opinion have proved
important for understanding the historical developments of this music since
then (Section 2.2). Special focus in this overview lies on what I consider
relevant for the main part of this paper, presented in Section 3. In it, I want
to highlight one of the areas I think of as crucial for the current state of
maracatu, in particular outside Recife: the pedagogics of maracatu de baque
virado. My thesis is that commercially released instructional material (Section 3.1) and maracatu workshops (Section 3.2), mainly held by Brazilian
percussionists outside Brazil, along with audio and video recordings (which
are not treated specifically in this paper), have utmost influence on maracatu
groups and musicians interested in maracatu de baque virado outside Brazil.
I cannot prove this thesis within the scope of this article, but I do hope to
give ideas of where one could start, if interested in those topics, and point at
how I came to my belief.
1
Portuguese, Multicultural Carnival of Recife. Recife is the capital of Pernambuco,

a state in northeastern Brazil. This and all following translations are by the author.
2
Port. maracatu of the free beat, or maracatu without beat, also called maracatu
rural (maracatu of the countryside) or maracatu de orquestra (orchestral maracatu).
3
Capital of the Northeast-Brazilian state Ceara.
Maracatu de Baque Virado. An Historical

Outline
As I am not giving an introduction here to what is maracatu de baque virado, I recommend the following sources as introductory material for readers
completely unacquainted with maracatu: the classic Maracatus do Recife by
Cesar Guerra Peixe [Guerra-Peixe 1980], the article O Carnaval do Recife
e a Formacao do Folclore Negro no Brasil by Yoshihiro Arai [Arai 1994],
the article The Pernambuco Carnival and its Formal Organisations: Music
as Expression of Hierarchies and Power in Brazil by Tiago de Oliveira Pinto
[Pinto 1994], the article Maracatus de Baque Virado ou Nacao by Claudia de
Assis Rocha Lima [Lima 2008], the article Turned-Around Beat. Maracatu de
Baque Virado and Chico Science [Crook 2001] and the book Music of Northeast Brazil [Crook 2009, pp. 90105] by Larry Crook, the Batuque Book
Maracatu by Climerio de Oliveira Santos and Tarcsio Soares Resende [Santos and Resende 2009], the catalogue Recife. Nacao Africana. Catalogo
da Cultura Afro-Brasileira [Recife. Nacao Africana. . . 2008], and the articles about Brazil by Gerard Behague in the music dictionaries New Grove
hague 2001, p. 289] and Musik in Geschichte und Gegenwart [Be
hague
[Be
1995, pp. 117118]. One can easily find plenty of resources on the internet as
well; see, for example, the Portuguese Wikipedia page on Maracatu-Nacao
[Wikipedia: Maracatu-Nacao 2010], or the website maracatu.org.br [Maracatu.org.br 2009].
I want to give a very brief overview of the history of maracatu-nacao in
Recife (and Olinda4 ). As its roots date back to the 17th century, obviously a
lot of space would be needed to cover this topic appropriately. As I can first
and foremost only report what I observed of the maracatu in the 2010 carnaval in Recife, as well as repeat what can be found in the limited literature
available, I am certainly not the right person for this task.
2.1
16661988
The pre-history of the maracatu-nacao is usually considered to start with

the colonial practices [. . . ] called the Rei de Angola (King of Angola) and
the Rei de Congo (King of Congo), the earliest written account for which
stems from the year 1666 [Crook 2009, p. 92]. In those rituals, queens
and kings (of Angola, the Congo and other nations) were elected by the
African slaves that had been imported to colonial Brazil by the hegemonic
Portuguese since 1538. These royalties served as intermediaries between
4
A city next, and culturally connected, to Recife.
the white masters and the enslaved and help keep order as they presided
over religious and secular activities of the black population [Crook 2001,
p. 234]. The celebrations for the coronations included music and dance.
If not already somewhat earlier, then certainly after slavery in Brazil was
5
abolished on May 13, 1888, when Princesa Isabel signed the Lei Aurea
, the
institution lost its original meaning. But now the various maracatus-nacao
had the possibility to officially enter Recifes carnival street parades.
However, although [p]revalent in nineteenth- and twentieth-century Recife, maracatu de nacao went into decline after around 1960. In 1967, only
three groups remained [Metz 2008, p. 64]. Yoshihiro Arai gives the following number of maracatu de baque virado groups officially registered for
parading in the carival in the period 1961656 : five [Arai 1994, p. 117].
In the next two decades, not too much changed about the situation. But for
whatever reasons, starting in the late 1980s and continuing up to the present,
some drastic developments have taken place. These developments are especially remarkable when considering that in the long history of maracatu, it
had never gained much attention or interest outside the Recife/Olinda area,
neither within Brazil, nor in the rest of the world. The theoretical reflections
up to that time had been very little.7 I also know of no work specifically
treating maracatu that appeared before 1990 in any language other than
Portuguese.
2.2
19882010
In 1988, according to Jerry D. Metz, there were nine groups performing

maracatu de baque virado in Recife/Olinda [Metz 2008, p. 64]. According
to Arai, eight were officially registered in the Recife carnival [Arai 1994,
p. 117].
17 years later, in 2005, Climerio de Oliveira Santos estimated that there
were 65 maracatu de baque virado groups active in Pernambuco [Santos
and Resende 2009, p. 29]. In 2006, historians Isabel Christina Martins
Guillen and Ivaldo Marciano de Franca Lima wrote: Os maracatus-nacao
fazem enorme sucesso no cenario cultural da cidade do Recife na atualidade
5
The Port. golden law was the official abolition of slavery in Brazil.
It is not clear to which year he is referring, or if he is suggesting that it was the exact
same number in all five years.
7
The two most noteworthy studies on maracatu that appeared before the 1980s and
which are still cited frequently today are Maracatus do Recife by Guerra-Peixe (1955)
[Guerra-Peixe 1980] and O Folclore no Carnaval do Recife, written by Katarina Real
in 1967.
6
[Guillen and Lima 2006, p. 183].8 Meanwhile, during the almost two
decades 19882010, many noteworthy developments took place in the maracatu world.
The following list includes some events and facts that I think helped foster, or were somehow connected to, what could be called a veritable maracatu
boom that has been occurring during the last twenty years, within as well
as outside Brazil.
In 1988 and 1989, the two well-known and very traditional maracatusnacao Nacao do Maracatu Porto Rico and Maracatu Elefante came
via organized tours to Europe [...] and helped increase both local and
international interest in the tradition [Crook 2001, p. 239].
On December 15, 1989, the maracatu group Nacao Pernambuco was
o Pernambuco n.d.], [Lima 2008]). The
founded in Olinda ([Nac
a
group recorded one the first (if not the first) commercial CD with maracatu music in the history of the genre (self-titled, released 1993, see
[Crook 2001, p. 239]). It was the first maracatu group that toured extensively outside Brazil. It collaborated with, and performed opening
shows for, a range of renowned Brazilian and international pop artists.
1991 saw the formation of Chico Science & Nacao Zumi9 , a band that
mixed local musical traditions of Pernambuco (namely most prominently maracatu de baque virado, but also ciranda, embolada and others) with international influences coming from hip-hop, rock, metal etc.,
and which soon was to become one of the most successful artists out
of Pernambuco ever. They are generally regarded as the leaders of
the musical movement called mangue beat. In performances, they used
three drummers playing alfaia drums in the center of the stage, giving
plenty of visibility to an identifying symbol of maracatu-nacao.
Between 1993 and 1995 (when the group moved their new home base
to the Alto Jose do Pinho neighborhood), the Maracatu-Nacao Estrela Brilhante do Recife was re-organized. Under the famous leader of
their percussion section, mestre10 Walter Ferreira de Franca11 , who was
8
Port. At the moment, the maracatu nations have enormous success in the cultural
scene of the city of Recife.
9
o Zumbi n.d.].
For further information, see [Galinsky 2002], [Crook 2001] or [Nac
a
10
Port. master. In Brazil, this is the term used for leaders of maracatu groups,, samba
groups, capoeira groups, etc.
11
often referred to simply as (Mestre) Walter
coming from a samba-background12 , some major innovations were introduced to Estrela Brilhante in the mid-1990s that should have huge
impact on the whole maracatu-nacao scene in Recife, and maybe an
even stronger one on the maracatu workshops that would soon be held
more and more frequently all around the globe. These innovations
included:
New Instruments: Estrela Brilhante was the first maracatu to use
abes.13 Within the maracatu de baque virado groups in the 2010
carnaval, these instruments were already more common than the
type of shakers that used to be played instead before: ganzas.14
Brakes Walter introduced certain convencoes15 or brakes16 , now a
trademark of Estrela Brilhantes music, that had previously been
unusual in maracatu, but common in samba.
Female batuqueiros: Traditionally, no female batuqueiros 17 were allowed in the maracatus-nacao. In the mid 1990s, three female
students from the UFPE18 Neide Valdes and the two sisters Virginia and Cristina Barbosawho were interested in maracatunacao wanted to carry out some studies about it and learn to play
it. They approached Estrela Brilhante and Walter accepted them
happily into the nacao, because he thought that it would (and,
according to him, did) stir the interest of the media and public
[Galinsky 2002, pp. 8485]. Today, at least a few women are
playing in most of the maracatus-nacao, and there is one group,
Baque Mulher19 , consisting of women only. Interestingly, although
women are now found at all positions of the maracatu batuque,
there is one instrument played almost exclusively by women: the
abe.20
12
More specifically, he was member of the Gigantes do Samba, the oldest, best-known
and (as far as the annual official carnival competitions are concerned) most successful
samba school out of Recife.
13
Interview with percussionist Cal do Rap, conducted on February 5, 2010. Cal do Rap,
musician and long-term Estrela Brilhante member, said that he was among the first group
of percussionists within Estrela Brilhante who played these new shakers.
14
Other names for this instrument include maraca, mineiro and mineirinho. Another
instrument that is now used by a number of groups was introduced by the Nac
ao do
Maracatu Porto Rico: the timbal.
15
Port. conventions.
16
Port. breaks.
17
Port. percussionists in maracatu-parlance.
18
Universidade Federal de Pernambuco (Federal University of Pernambuco).
19
Port., which roughly translates to Womans Beat.
20
Some member of one of the maracatus-nac
ao in Recife remarked to me that this was
White, middle-class and formally trained batuqueiros: The entrance of the three mentioned women into Estrela Brilhante had
a second major significance: they were some of the first formally
educated musicians from the middle-class to enter a nacao do maracatu. Plus, they were not from the Alto Jose do Pinho neighborhood but from another part of Recife further away. Up to
that point, almost all of members of the maracatus-nacao in Recife were dark-skinned, from lower-class social background and directly from the neighborhood where the respective maracatu was
based. Later on, a lot more formally educated musicians from Recife participated in maracatus-nacao, in this way learning about
the folk traditions of their hometown, and in some cases then used
the knowledge in other musical projects (e.g. percussionist Eder

O Rocha, of the band Mestre Ambrosio, or Jorge Martins da
Silva, of the band Cascabulho). Also, more and more people from
the white middle-class became interested in maracatu de baque virado. There are now numerous workshop classes around the city,
specifically designed for this social group.
Systemizing the maracatu: Finally, and perhaps most relevant to
the topic of this paper, Walter designed a pedagogical concept for
the maracatu, in a way standardizing it. According to anthropologist Ernesto Ignacio de Carvalho, A cartilha Estrela Brilhante
de baque virado e mais ou menos a base do que foi ensinado por
varias cidades do Brasil e do mundo desde o movimento das oficinas de maracatu, a partir do final da decada de 90 [Carvalho
2007, p. 118].21 He conceived a system of five exactly specified
alfaia rhythms, to each of which he assigned a name.
Before I came to Recife, I saw a video on YouTube.com in which
percussionist Eder
O Rocha explains these exact five rhythms
[Rocher 2008], using the same names as Walter. In Recife, we
conducted an interview with Hugo Leonardo, mestre of the Nacao
do Maracatu Leao da Campina. When we asked him to explain the
various rhythms that there are in maracatu-nacao, he performed
and named those exact five rhythms for us. In the carnaval parades, they constituted by far the greatest part of what I heard
from the various nacoes. Philip Galinsky, in his book Maracatu
due to the fact that the abe is somehow associated with femininity, due to its shape.
21
Port. The primer Estrela Brilhante of the baque virado is more or less the basis
for what has been taught in various cities in Brazil and the world since the movement of
the maracatu workshops has taken place, starting at the end of the 90s.
Atomico [Galinsky 2002] on the mangue movement, which is one

of the most extensive English works on the topic, cites those exact rhythms (again, with the same names) as musical examples
of what maracatu de baque virado is.22 A maracatu workshop I
attended, held by Brazilian percussionist Tarcsio Soares Resende
(author of the successful instructional-type Batuque book [Santos and Resende 2009]), held in Vienna, Austria in June 2010
(compare Section 3.2), was also based on those rhythms. I came
to assume that they constitute the traditional repertoire of the
maracatu de baque virado in Recife. Only through the paper from
Carvalho cited above did I learn that they came together as a pedagogical concept, probably partly for the many new batuqueiros
who entered, or visited, Estrela Brilhante during the last twenty
years. For many musicians, students and other outsiders who
wanted to learn about maracatu, Estrela Brilhante, one of the bestknown and, to the ears of many, best maracatus-nacao, was the
group of their choice. These people so often reproduced what they
had learned, that this heritage indeed seems to make up a large
part of what maracatu is today. Many of the maracatus-nacao
now active were founded only after Walter coined his system and
may have drawn from his clear-cut, compact and well-conceived
concept when their repertoires came together.
Following Nacao Pernambuco, many of the more traditional maracatusnacao recorded CDs, making their music more accessible in- and outside Recife (e.g. Estrela Brilhante do Recife, Estrela Brilhante de Igarassu, Encanto da Alegria, Leao Coroado, Porto Rico, Cambinda Estrela).
Founded in 1993, the Maracatu Stern der Elbe from Hamburg, Germany
was probably the first European maracatu group.
Since 2002 [Guillen and Lima 2006, p. 183], renown Brazilian percussionist Nana Vasconcelos conducts hundreds of batuqueiros of various
maracatus-nacao at the Arbetura do Caranval do Recife23 , which
takes place friday night before Ash Wednesday at Marco Zero, the
largest public square in Recife, and which is one of the most visible
events of the carnaval celebrations.
22
It should be noted that, contrary to the other examples, Galinsky is citing Walter as
his source for the rhythms.
23
Port. Opening of the Carnival of Recife.
10
The French maracatu group Macaba and other European maracatu

groups now organize Encontros Europeu de Maracatus24 , the third and
fourth of which took place on July 56, 2008 in Nantes (215 participants
from 15 music groups), and on July 24, 2010 in Paris (more than 300
particiants) respectively.
There are now maracatu groups and workshops in major cities around
the globe.
Teaching Maracatu de Baque Virado
Within Recife, educational material seems to have very little importance.

Although maracatu-workshops have become more common there during the
past decade, in the rather traditional maracatus-nacao the music is transmitted orally. When we asked Hugo Leonardo, mestre of the Nacao do Maracatu
Leao da Campina25 , how children are taught when they enter the group, he
answered that the young kids, when they hold an alfaia in their hands for
the first time, maybe at age four or five, already know how to play all the
rhythms.26 They are capable of this because they have seen and heard how
to do it many times before. In other words, there is no active teaching, the
tradition is passed on by imitating what the older ones are doing.
Contrary to that, it is in my opinion reasonable to consider maracatu
educational literature and videos, as well as other audio and video recordings
and workshops, very important for how maracatu is received and practiced
outside Brazil. I would argue that since there is no maracatu tradition outside
Brazil (or, to be more exact, only a very recent one), these kind of sources
constitute a significant pool of information for non-Brazilians interested in
maracatu, in particular for those who did not have the chance to study the
music in Recife themselves. (Compare the remark on the sales of the Batuque
Book, cited below on p. 11.)
3.1
Instructional Literature and Videos
I strongly doubt that many instructional books or articles dealing with the
music of maracatu appeared before the 1990s.27 However, I found a consid24
Port. European Maracatu meetings.

Port. Maracatu Nation Lion of the Land.
26
Formal interview, conducted on February 6, 2010, in Ibura (Recife), at Le
ao da Campinas home base.
27
One of the few exceptions is [Rocca 1986].
25
11
erable number of educational products released since then, of which I want

to give an overview here.
Apart from three books and the DVD presented in Section 3.1.1 that give
actual scores/transcriptions of music played by maracatu batuques28 , there
is a number of explicitly designated musical teaching books and videos for
drum set and various other percussion instruments that contain chapters on
maracatu de baque virado. The authors usually explain how they would adapt
maracatu (and, for that matter, typically also other Brazilian musical styles)
for the respective instrument. In Sections 3.1.23.1.4, some examples of this
approach are presented, ordered by instrument.
3.1.1
Batuque/Pecussion Ensemble
Although maracatu de baque virado is music traditionally performed by a percussion ensemble, I have not found many publications dealing with this kind
of instrumentation. Far more have been published for drum set or pandeiro.
This might be due to the fact that in the Western hemisphere, far more
people and musicians (potential buyers) have access to these instruments
than to a whole percussion ensemble.
Climerio de Oliveira Santos and Tarcsio Soares Resende: Maracatu
Batuque Book ([Santos and Resende 2009], book & CD-ROM, 156
pages, Portuguese and English). There is one book dedicated entirely to
maracatu (de baque virado as well as de baque solto) which is of instructional character due to its many musical scores, made from recordings
and also included on the accompanying CD-ROM. The scores are note
literal note-by-note transcriptions. They are not close to scientific accuracy. They rather give simplified, compact and workable summaries
of what is happening in the recorded performances and are thus wellsuited as e.g. material for performing percussion groups. Written by
Climerio de Oliveira Santos29 and Tarcsio Soares Resende30 , the Maracatu Batuque Book is bilingual (Portuguese and English) throughout
and hence one of the most comprehensive works on maracatu available
in any language other than Portuguese. In 2007, Ernesto Ignacio de
Carvalho explained that the Maracatu Batuque Book foi recentemente
comprado em grandes quantidades na Inglaterra, onde um grupo de
28
Port., a common term for maracatu percussion ensembles.

A Brazilian ethnomusicologist and musician, a former student of Prof. Carlos Sandroni
at the Federal University of Pernambuco.
30
A Brazilian professional percussionist and teacher, who is also holding maracatu workshops in Brazil and abroad; compare Section 3.2.
29
12
percussionistas pretende adota-lo como metodo de ensino de percussao

em escola. [Carvalho 2007, p. 131]31 As the first edition of the book
sold out, its second edition is the one currently available.
Climerio de Oliveira Santos and Tarcsio Soares Resende: MaracatuNacao. Brazils Heartbeat ([Santos and Resende 2010], DVD, 114
minutes, Portuguese with English, French and Spanish subtitles). There
also is a DVD by the same authors which expands on the concept of the
book. It contains a documentary on maracatu, transcriptions, a section
in which mestres Afonso Aguiar of Maracatu Leao Coroado32 , Shacon
Viana of Maracatu Porto Rico and Seu Toinho of Maracatu Encanto
de Alegria33 talk about and demonstrate rhythms typical for their respective groups, a section on the construction of alfaias, as well as a
feature on non-traditional and innovative maracatu percussion groups
in- and outside Brazil.
Gilson de Assis: Brazilian Percussion ([Assis 2002], book & CD, 141
pages, German). Another percussion instructional book that features
a section on maracatu de baque virado. In Assis Brazilian Percussion,
several Brazilian percussion styles are described and typical patterns
are presented. Music examples are included as percussion scores and
on an audio CD. The Chapter Maracatu de Baque Virado in Pernambuco [Assis 2002, Kapitel 3 (pp. 95104), CD tracks 3238] consists of
a very short introduction to the history and instruments of maracatu,
as well as the score to a whole maracatu-piece, featuring the sections
Intro, Genereller Groove34 , Break 1, Break 2 and Schlussbreak35 . Similarly to the scores from the Batuque Book, this score
is of instructional character rather than representing accurately some
rendition of maracatu de baque virado from Recife.
Fernando Antonio Ferreira de Souza: Manual de Percussao dos Ritmos
Pernambucanos36 (2010, Portuguese). Finally, this is another item that
I have not yet had a chance to examine myself. The book contains sec31
Port. Recently, the Batuque Book was purchased in great quantities in England, where
a group of percussionists intends to employ it as an instructional method for teaching
percussion in school.
32
Port. Maracatu Crowned Lion.
33
Port. Maracatu House of Joy.
34
German, general groove.
35
Ger. ending break.
36
Port. Percussion Manual of Rhythms from Pernambuco.
13
tions on Gongue 37 Alfaia, Caixa38 , Ganza/Mineiro/Caracaxa,

Maracatu and Maracatu de Baque Virado.
3.1.2
Drum Set
Numerous works describing how maracatu can be interpreted on the drum

set are available. This has probably two reasons: firstly, the drum set is a
hugely popular instrument in the Western hemisphere, and secondly, it has
a very wide range of sounds and is thus well-suited for simulating percussion
styles fairly closely that are originally played on other instruments. Here are
four publications that I could get my hands on personally:
Dirk Brand: 1000 faces of drum styles ([Brand 1997], book & CD, 300
pages, German). The section on maracatu [Brand 1997, pp. 106107]
is very brief. The patterns the author suggests seem to be connected to
maracatu de baque virado only losely. Or, to say the least, they seem
to be derived in a very free manner. He merely very superficially
touches upon which instruments are actually used in maracatu, or how
he developed his patterns. In particular, he mentions how he imitates
den normalerweise von den Agogo Bells gespielten Part39 on the ride
cymbal in one example [Brand 1997, p. 107], and how another pattern
imitates auf den Toms den Rhythmus der Zabumba [Brand 1997,
p. 106].40 As he nevertheless suggests that the presented examples
are more or less directly transcribed from maracatu performances, the
value of this whole contribution seems questionable to me.41
Helge Rosenbaum: Brazilian Drumming ([Rosenbaum 2007], book &
CD, 194 pages, German). This contains the most complete treatment
of how to adapt maracatu to the drum set that I have seen so far.
Rosenbaums well-conceived approach starts with a generic maracatu
percussion score. He proceeds with a discussion of how the parts of the
37
A large single Bell made of metal, which is used by practically all maracatus-nac
ao.
The small snare-drum-like drums used in maracatu-nac
ao.
39
Ger. the part usually played by the agogo bells, possibly having the single bell in
mind which is more often referred to as gongue in Recife.
40
Ger. on the toms the rhythm of the zabumba, apparently meaning the bass drum
usually called alfaia in maracatu context.
41
Later, on June 22, 2011, at a product presentation of the electronic musical instruments manufacturer Roland, which took place at the music store Klangfarbe in Vienna, I had a chance to converse with Dirk Brand. He told me that some Brazilian drum
set player (which he could not specifically name anymore) showed him those drum set
patterns many years ago, during his studies at the Berklee College of Music, located in
Boston, Massachusettes, U.S.A.
38
14
different maracatu instruments could be applied to various instruments

of the drum set in several ways, deriving a number of drum set grooves
that seem to emulate the style fairly convincingly [Rosenbaum 2007,
pp. 1819, 28, 41, 144149, CD tracks 4, 7175]. Interestingly, the
book also includes a short section on mangue beat (a la Chico Science
& Naco Zumbi ) [Rosenbaum 2007, p. 150, CD track 76]. This pop
music genre makes use of maracatu elements as well as the drum set as
a native instrument. This is one of the very few places I have seen
in any musical instructional work where mangue beat is mentioned.
In Vera Cruz Island. Brazilian Rhythms for Dumset ([Figueiredo and
Oliveira 2009], book & 2 CDs, 106 pages, English), Brazilian drummer Vera Figueiredo presents a couple of songs, written and recorded
specifically for that occasion, that make use of various Brazilian as well
as international popular music traditions. Transcriptions of the drum
set parts she plays are included. The first of the songs, Vera Cruz
Island, includes some maracatuesque sections. She also explains very
briefly how she derives her drum set patterns from maracatu music
[Figueiredo and Oliveira 2009, pp. 1117]. According to her, the
song is based on the Maracatu groove [Figueiredo and Oliveira
2009, p. 11] (compare Section 3.1.5), and the pattern she plays is
one of the closest possible drumset grooves to the maracatu ensemble
[Figueiredo and Oliveira 2009, p. 12].
Eduardo Guedes: Maracatu: Maraca 2.0Applying Pullouts and Control Strokes in Brazilian Rhythms42 ([Guedes 2009], article, 3 pages,
English). Published online on the webpage of Hudson music, this brief
article explores the possibilities of applying two well-known concepts
from drum set technique (pullouts and control strokes) to some
grooves the author takes from the maracatu section of his book Brazil
for Drum Set. Vol. 1: NortheastNordesteNoreste (see the notes on
the book below).
There are several more similar publications that I have not had a chance to
read yet. I still want to include them in this list in order to give a more
complete picture:
42
This title is referring to the article Future Sounds 2.0 [Garibaldi 2007] by famous
drum set player David Garibald. Guedes originally developed the idea of writing his
article through the study of the one by Garibaldi. In it, Garibaldi explains the concepts
of pullouts and control strokes in funk drumming. A pullout is a soft note followed
by a loud note, played with the same hand. A control stroke is a loud note followed by
a soft note, played with the same hand.
15
Duduka da Fonseca, Bob Weiner: Brazilian Rhythms for Drumset,

([Fonseca and Weiner 1991], Drummers Collective Series, Manhattan Music, U.S.A., book & 2 CDs, English). The title of the
book says it all. Section 4 (pp. 6768) is on maracatu. According
to the German Wikipedia, this book has become a Standardwerk
f
ur Schlagzeuger [...], die sich f
ur brasilianische Musik interessieren
[Wikipedia: Duduka da Fonseca 2010]43 .
Ed Uribe: The Essence of Brazilian Percussion & Drum Set ([Uribe
2006], book & CD, 144 pages, English). Taking a similar approach as
the other publications presented here, the book includes a very short
chapter on maracatu (pp. 136137).
Alberto Netto: Brazilian Rhythms for Drum Set and Percussion (2003,
Berklee Press, U.S.A., book & CD, 120 pages, English). Same story,
the segment about maracatu (pp. 9496) is included in Section 6: AfroBrazilian Rhythms. On the CD, a percussion ensemble example (track
72) and two drum set examples (track 73) are included. The introductory track 1 is a maracatu piece as well, performed on piano, bass,
drums and percussion.
Eduardo Guedes: Brazil for Drum Set. Vol. 1: NortheastNordeste
Noreste (2008, Tunesguedes Publishing, Astoria, New York, USA, book
& CD, 80 pages, English/Portuguese/Spanish). Written by Brazilian
drum set player, percussionist and educator Eduardo Guedes, this publication contains a comprehensive chapter (Section 2, pp. 3346) and a
score, called Maracatu: Estrela Brilhante (p. 67), on maracatu.
Pete Sweeney: Drum Atlas Brazil. Your Passport to a new world of
music (2009, Alfred Publishing U.S.A., Book & CD, English). On
the cover, it says: Translations of traditional rhythms for the modern
drumset. In Chapter 6 (Additional Brazilian Styles), there is a page
on maracatu (p. 46).
3.1.3
Pandeiro
Maybe due to the fact that the pandeiro is arguably as typical Brazilian
as maracatu, most instructional works for this instrument seem to at least
briefly touch upon maracatu. The pandeiro, like the drum set, has a wide
range of sounds, making it versatile and suitable for the adaption of many
percussion styles not usually played on it.
43
Ger. standard reference for drummers interested in Brazilian music.
16
Marcos Suzano: Pandeiro Brasileiro.44 A Complete Lesson with Marcos

Suzano ([Suzano 2008], DVD, 140 minutes, Portuguese with English,
French, German and Spanish subtitles). Marcus Suzano is one of the
most renown pandeiro artists living and is usually cited with having
revolutionized the technique of the instrument by utilizing innovative
hand movement patterns. In particular, he often plays bass accents
with the fingers, where before usually the thumb was used. Likewise,
he frequently starts patterns with his fingers instead of the thumb. This
modern and now very popular approach is, as he explains on the DVD,
especially well suited for maracatu grooves with their typical heavy
off-beat bass accents.
Helge Rosenbaum: Brazilian Drumming ([Rosenbaum 2007], book &
CD, German). Despite of the main focus of this earlier mentioned book
being the drum set, Rosenbaum herein also presents one possibility to
play maracatu on the pandeiro [Rosenbaum 2007, p. 41].
Again, there are several more related educational products that I have not
held in hands personally yet. Examples include:
Paulinho Silva: Pandeiro Popular Brasileiro. Video-Aula de Pandeiro
1, 2 e 345 (DVD; Portuguese, with English, Spanish and French subtitles). This release by Paulinho Silva, a former student of Marcos
Suzano, has a section where Paulinho demonstrates his versions of some
popular Brazilian rhythms for pandeiro, among others maracatu.
Vina Lacerda: Pandeirada Brasileira (book & MP3-CD, 133 pages,
English and Portuguese), and Pandeirada BrasileiraPocket Edition
(book & DVD, English). These releases both contain some material on
maracatu adaptions for pandeiro.
Jonathan Gregory: A Comprehensive Guide to Brazilian Pandeiro (2007,
2nd edition, book, 76 pages, English). There are short sections on maracatu (p. 60) andnoteworthyon mangue beat (p. 61).
Luiz Roberto Sampaio, Victor Camargo Bub: Pandeiro Brasileiro. Volume 1 and Luiz Roberto Sampaio: Pandeiro Brasileiro. Volume 246
(each consisting of a bookin Portuguese onlyand a DVD in English, French, Spanish, Japanese and Portuguese). These two releases
touch upon maracatu as well.
44
Port. Brazilian pandeiro.

Port. Popular Brazilian Pandeiro. Pandeiro Video Lesson 1, 2 and 3.
46
Port. Brazilian Pandeiro. Volume 1 resp. 2.
45
4
4 ..
j
! .
17
j
! .
j
! .
..
Figure 1: The maracatu rhythm sometimes called Arrasto.

3.1.4
Atabaque/Timbal
Gilson de Assis: Brazilian Conga (Atabaque). Traditional and Modern

Rhythms from Brazil for 1, 2 or 3 Congas and Timbau ([Assis 2006],
book & CD, 125 pages, English/Portuguese/German). This book includes nine different ways of how Brazilian percussionist Gilson de Assis
would interpret maracatu on 1, 2, or 3 congas [Assis 2006, pp. 8081,
CD track 39]. The author does not give any accompanying commentary
or explanations.
3.1.5
Remark
One if the things I found interesting, when I was looking through all these
examples, was the frequent occurrence of one specific rhythm, used as a
starting point in many cases. It is the one called Arrasto47 by mestre Walter
Ferreira de Franca of Estrela Brilhante de Recife48 , depicted in Figure 1.
Compared to other rhythms found as often or even more frequently in the
performances of Recife maracatu groups, this particular one is favored by
many of the authors mentioned in this section. Sometimes it is juxtaposed
with other alfaia rhythms (Helge Rosenbaum [Rosenbaum 2007], Gilson de
Assis [Assis 2006]), but often it is presented in a rather uncritical manner
as the, or as an especially typical maracatu rhythm (Dirk Brand [Brand
1997], Vera Figueiredo [Figueiredo and Oliveira 2009], Eduardo Guedes
[Guedes 2009], Marcos Suzano [Suzano 2008]). One can only speculate
about why this rhythm is featured so disproportionally. My attempt for an
explanation is the following:
When I started listening to maracatu, what caught my ear immediately as
the most striking rhythmic feature of the music was the frequent prominent
and heavy accentuation of the second of the four sixteenth notes in a quarter
note. This kind of off-beat accent can happen in different ways and on
different beats within the four/four bar, depending on the performed rhythm.
But all of the maracatu de baque virado rhythms feature it in some way or
another. The rhythm depicted in Figure 1 highlights this characteristic in a
very condensed manner.
47
48
Port. limping or dragging.

for a discussion of the naming of this rhythm, see [Carvalho 2007, pp. 120121].
18
Another argument (although one that would hold for a couple a other
maracatu rhythms as well) is that the rhythm from Figure 1, played with a
bass sound, combines very nicely with a rock/pop-type, high-pitched backbeat on beats two and four of the bar. This is an approach pursued by most
of the authors who try to adapt the maracatu grooves to drum set or pandeiro, and which yields a syncopated groove sounding like a funk or mangue
beat pattern.
3.2
Workshops
Since the 1990s, maracatu workshops are held in- and outside Brazil. As
mentioned before, Ernesto Ignacio de Carvalho speaks of a veritable movimento das oficinas de maracatu [Carvalho 2007, p. 118]49 in this regard.
In many cases, the maracatu groups outside Pernambuco were initiated by
workshops held by percussionists either from Pernambuco or who had studied maracatu there. As the maracatu tradition outside Brazil is still very
young and the density of active groups rather low, I claim that workshops
in many cases provide the first, or most direct/first-hand exposure to this
music for people who have not heard or seen it on location in Recife before.
For these reasons, I think that maracatu workshops are one of the principal and most influential means by which maracatu is distributed, popularized
and multiplied in the world, especially outside Pernambuco and even more
so outside Brazil. Consequently, I find it important to give account of these
events.
Usually, workshops are intended mainly as a temporary thing, to transmit
a specific knowledge, during a specific time interval, and no one involved has
necessarily any desire to give further account of it. Accordingly, documentation of them is in most cases hard to find or inexistent. It must thus remain
quite a formidable task, which I cannot tackle within the scope of this paper,
to give a somewhat complete picture of maracatu workshops that have been
held all around the world since the 1990s. For illustration, I still want to put
down some words about at least a few of them that I came across coincidentally during my still brief occupation with maracatu. Naturally, these are all
examples from a fairly limited time interval and a fairly restricted area.
Various Workshops with Nininho (Europe 20082010). Better
known as (mestre) Nininho, Brazilian percussionist Jose da Silva Assuncao, after playing in the renown group Maracatu-Nacao Pernambuco
for some time, has been leader of Maracatu Badia from Olinda since
49
Port. movement of maracatu workshops.
19
the late 1990s. Badia is a group that initially consisted only of women
(apart from Nininho)50 , which is fairly unusual for a maracatu group in
the Recife/Olinda area51 . Also, Badia plays a decidedly non-traditional
style of maracatu, mixing it with all sort of influences. Therefore, Nininho assigned the name Maracatu de Baque Livre52 as a trademark to
their kind of music. Klaus Urban53 brought to my attention that Nininho has been holding workshop tours in several cities around Europe
on an annual basis since 2008, usually lasting a couple of weeks.54
Maracatu Workshop mit55 Luciano Ciranda (Vienna, Austria,
2010). Between February and May 2010, Brazilian dancer, percussionist, singer and composer Luciano Ciranda, now living in Vienna,
was holding workshops in the Initiativenraum of the Werkstattenund Kulturhaus56 (WUK), teaching mainly maracatu, but also other
Afro-Brazilian styles like afoxe, coco, or ciranda. These workshops
were scheduled once or twice a month.57 I wanted to attend the last
of them, scheduled for May 23, 2010. Unfortunately, it was cancelled
on short notice, hence I cannot say anything about what was taught at
these workshop classes.
Quebra Baque Austria (Vienna, Austria, 2010). In 2003, Tarcsio
Soares Resende, one of the authors of the aforementioned Maracatu
Batuque Book [Santos and Resende 2009] and and the Batuque DVD
Maracatu Nacao. Brazils Heartbeat, founded the group Maracatu Quebra Baque in Recife. One of its members is Priscilla Borel58 . In collaboration with the organization iKUSZ59 , it was planned to bring her to
50
See, for example, [Galinsky 2002, p. 180].

In fact, until now there has probably been only one other such group, namely Baque
Mulher (Port. Womens Beat).
52
Port. Maracatu of the Free Beat.
53
Leader of the German maracatu de baque livre group Encontro, and manager of
Kalango, one of the largest mail order companies specialized in Brazilian instruments
in Europe.
54
Personal communication with Klaus Urban on April 21 and May 25, 2010. Also see
[Suhner n.d.].
55
Ger. with.
56
Ger. house of workshops and culture.
57
The date schedule was February 27, March 27, April 3 and 10, May 9 and 23. This
information comes from the flyer for these workshops, as well as from two resources on the
internet that I found: [WUK n.d.] and [Akinyosoye 2010].
58
Singer, musician, dancer and former long-term member of Maracatu Estrela Brilhante.
Native of Recife.
59
Internationales Zentrum f
ur Kunst-Kultur-Science & Soziales (Ger. international
centre for culture-art-science & social affairs). A Verein (Ger. society) founded in 2009
51
20
Vienna, Austria, to hold a two day workshop, under the name Quebra
Baque, on October 31November 1, 2010, at WUKs Initiativenraum
(see above). Unfortunately, the workshop was canncelled on short notice.
In 2010, in a new attempt, iKUSZ invited Tarcsio Resende. He spent a
few weeks in Vienna and helped found Maracatu Quebra Baque Austria.
Between May 17 and July 7, 2010, Resende led the group and held
workshops, rehearsals, public rehearsal and live performances with a
group of circa 1020 participants. Their first public appearance was
on June 11. Quebra Baque Austria is still rehearsing and playing live
shows now. For mid 2011, it is planned to invite Resende another
time.60
I attended one of the rehearsals61 and one public live performance62 .
The instruments used were gongue, ganza, abe, caixa 63 , timbals, alfaias
and voice. Apart from one ensemble break and a few variations in
the alfaia parts, I knew practically all of the patterns and songs that
Resende taught from maracatu groups in Recife. He also explicitly
cited some maracatus-nacao like Maracatu-Nacao Encanto da Alegria
or Nacao do Maracatu Porto Rico as being the authors of certain parts
or songs. Still, the way the arrangements were put together differed
significantly from what I had heard from traditional maracatus-nacao
from Recife. With Quebra Baque Austria, it was mostly relatively
long predetermined successions of different parts, starting with some
introduction and then, conducted by certain rudimentary signs from
Resende, moving from one rhythm to the next or to specific breaks
played by the ensemble, without stops in between. In Recife, especially as far as the traditional maracatus-nacao are concerned, I rarely
heard long, arranged renditions like that, which comprised several different rhythms. Accompanying one toada64 with one certain rhythm
(be it, with all sorts of variations, improvised by individual players)
seemed to be far more common. This is a case in point supporting
and based in Vienna, Austria. See [Spengler 2009].
60
All information is from the websites of iKUSZ [Spengler 2009], Quebra Baque Austria [Quebra Baque Austria 2008] as well as from printed flyers and posters for the
various events.
61
On June 30, 2010.
62
On July 2, 2010, in the Wiener Prater.
63
In fact, as caixas they used industrially manufactured instruments originally produced
as snare drums of a drum set. A logical choice, as they sound relatively similar to the
caixas and tatr
ois used in Reife, and are available much more easily in Vienna.
64
Port. song.
21
the central thesis of Ernesto Ignacio de Carvalho Dialogo de negros,

monologo de brancos [Carvalho 2007]. He believes that there are
significant differences between traditional maracatu performances of
Recifes maracatus-nacao, that have a certain interactive character to
them, and maracatu as it is for instance typically found in performances
by percussion workshop groups, that have more of a rehearsed and concertante character to them.
One other thing that caught my attention at the Quebra Baque Austria
rehearsal was the way Tarcsio Resende explained how the left hand
strokes on the alfaia should be executed. He said that the beater
should remain in contact with the drum head after the stroke, that it
should be pushed or buried into it. I found that peculiar because firstly,
I have never seen anybody play the alfaia like that in Recife; secondly,
the dampened sound quality that results did not match the image I had
thus far of how an maracatu alfaia should sound; and thirdly, because
personally, being a percussionist myself, I find it uncomfortable to play
a drum by constantly pushing the sticks into the drum head. Anyhow,
very few of the people present at the rehearsal actually played the alfaia that way, neither the few Brazilians who were there and obviously
already had some experience with the music, nor the Austrians who
were in some cases still struggling a lot with the patterns.
Masters Nation (Europe 2010). Organised by Gandaia65 , between
October 30 and November 30, 2010, the Masters Nation project took
place in 14 cities in Central and Northern Europe66 . Three mestres
of old and renown maracatus-nacao from Recife were invited to hold
workshops, seminars and concerts on altogether 21 days/events in the
various cities (sometimes more than one day in one city). Most of the
individual events were organized in collaboration with, or were booked
by, a local maracatu group. The participating mestres in 2010 were
Afonso Aguiar (of Maracatu Leao Coroado), Arlindo Carneiro dos Santos (of Maracatu Cambinda Africano) and Gilmar de Santana Batista
(of Maracatu Estrela Brilhante de Igarass
u67 ). The organizers are hop65
According to their website, GANDAIA is an Arts Organisation focused on the development of Brazilian culture through music, dance, drumming, costume design, travel and
cultural interchange [Gandaia n.d.]. They are based in the UK.
66
These were: Paris, Nantes, Montpellier, Toulouse and Bordeux in France; Manchester,
London and Oxford in England; Belfast in Northern Ireland; Malmo and Stockholm in
Sweden; Barcelona in Spain; Milan in Italy; Berlin in Germany.
67
n.d.(a)]
For further information on this group, see [Estrela Brilhante Igarrasu
or [Estrela Brilhante Igarrasu n.d.(b)].
22
ing to establish this as a permanent annual event, and to invite three

different mestres every year. According to their homepage, Masters
Nation II is currently already in the phase of pre-production [Masters Nation 2010].
These are but a few examples of maracatu workshops I personally came
in touch with during the last couple of months. I hope they serve as an
illustration for how much more there would be to find if one would consider
a larger area, other continents, or if going back further into the past. I hope
that they also give an idea of the kind of impact they have on maracatu in
Europe. With that in mind, I think that it is no exaggeration to speak of a
movimento das oficinas de maracatu. Having said that, it becomes clear
that workshops are probably one of the most important factors that have
shaped the characteristics and developments of maracatu music in the world
outside the Recife/Olinda area (which is a fairly big part of the world) since
the 1990s.
4
4.1
References
Literature on Maracatu de Baque Virado
Arai, Yoshihiro (1992). Recife no karunavaru to kokujin fokuroa no keisei.

In: Tosui-suru bunka: Ch
unanbei no sh
ukyo to shakai. Ed. by Hirochika
Nakamaki. 32 pages, illustrated, Japanese. Tokyo, Japan: Heibonsha,
pp. 85116.
(1994). O Carnaval do Recife e a Formacao do Folclore Negro no Brasil68 .
In: Senri Ethnological Reports 1. Originally published as [Arai 1992]. 24
pages, illustrated, Portuguese (translation from Japanese by Sandra M.
Murayama), pp. 115138.
hague, Gerard H. (1995). Brasilien69 . In: Die Musik in Geschichte und
Be
Gegenwart. Allgemeine Enzyklopadie der Musik, begr
undet von Friedrich
Blume70 . Ed. by Ludwig Finscher. 2nd Edition. Vol. Sachteil 2 (Boh
Enc). 30 pages, illustrated, German (translation from English by Eike
Wernhard). Gemeinschaftsausgabe der Verlage Barenreiter (Kassel, Basel,
London, New York, Prag) und J.B. Metzler (Stuttgart, Weimar), pp. 100
129.
68
Port. The Recife carnival and the formation of the black folclore in Brazil.
Ger. Brazil.
70
Ger. Music in History and Present. General Encyclopedia of Music, founded by
Friedrich Blume.
69
23
hague, Gerard H. (2001). Brazil. In: The New Grove Dictionary of

Be
Music and Musicians. Ed. by Stanley Sadie. 2nd Edition. Vol. Four
(BorowskiCanobbio). 32 pages, illustrated, English. London: Macmillan
Publisher Limited, pp. 268297.
Carvalho, Ernesto Igancio de (2007). Dialogo de negros, monologo de
brancos: Transformacoes musicais no maracatu de baque virado71 . 145
pages, illustrated, Portuguese. Dissertacao (PhD-thesis). Recife, Pernambuco, Brazil: Univesidade Federal de Pernambuco, Centro de Filosofia
e Ciencias Humanias, Departamento de Ciencias Sociais, Programa de
Pos-Graduacao em Antropologia.
Crook, Larry (2001). Turned-Around Beat. Maracatu de Baque Virado and
Chico Science. In: Brazilian Popular Music and Globalization. Ed. by
Charles A. Perrone and Christopher Dunn. 12 pages, illustrated, English. Gainesville, Florida, U.S.A.: University of Florida Press. Chap. 14,
pp. 233244.
(2009). Focus: Music of Northestern Brazil. 2nd edition (1st edition: 2005).
Focus on World Music. Book & CD, 284 pages, illustrated, English. New
York, U.S.A.: Routledge. isbn: 978-0-415-96065-6.
Galinsky, Philip (2002). Maracatu Atomico. Tradition, Modernity, and Postmodernity in the Mangue Movement of Recife, Brazil. Vol. 3. Current
Research in Ethnomusicology. Outstanding Dissertations. 228 pages, illustrated, English. New York, U.S.A., and London, England: Routledge.
Guerra-Peixe, Cesar (1980). Maracatus do Recife72 . Ed. by Rossini Talvares de Lima. 2nd edition (1st edition: 1955). Vol. XIV. Colecao Recife.
173 pages, illustrated, Portuguese. Recife, Pernambuco, Brazil: Irmaos
Vitale.
Guillen, Isabel Cristina Martins and Ivaldo Marciano de Franca Lima
(2006). Os Maracatus-Nacao do Recife e a Espectacularizacao da Cultura Popular (19601990)73 . In: SculumRevista de Historia 14. 16
pages, Portuguese, pp. 183198.
Metz, Jerry D. (2008). Cultural Geographies of Afro-Brazilian Symbolic
Practice: Tradition and Change in Maracatu de Nacao (Recife, Pernam71
Port.Dialogue of the Blacks, Monologue of the Whites: Transformations and Musical

Appropriations in the Maracatu de Baque Virado.
72
Port. The maracatus of Recife.
73
Port. The maracatus-nac
ao of Recife and the Spectacularization of Popular Culture
(19601990).
24
buco, Brazil). In: Latin American Music Review 29.1. 32 pages, English,
pp. 6495.
Pinto, Tiago de Oliveira (1994). The Pernambuco Carnival and its Formal
Organisations: Music as Expression of Hierarchies and Power in Brazil.
In: Yearbook for Traditional Music 26. 19 pages, illustrated, English (containing a Portuguese summary), pp. 2038.
Recife. Nacao Africana. . . (2008). Recife. Nacao Africana. Catalogo da Cultura Afro-Brasileira74 . Portuguese. Recife, Pernambuco, Brazil: Prefeitura
do Recife.
4.2
Instructional Material
Assis, Gilson de (2002). Brazilian Percussion. Book & CD, 144 pages, illustrated, German. Rottenburg, Germany: Advance Music. isbn: 3-89221063-2.
(2006). Brazilian Conga (Atabaque). Traditional and Modern Rhythms
from Brazil for 1, 2 or 3 Congas and Timbau. Book & CD, 128 pages, illustrated, English, Spanish, and German. Rottenburg, Germany: Advance
Music. isbn: 3-89221-072-1.
Brand, Dirk (1997). 1000 Faces of Drum Styles. Das Lexikon der Drumstile mit u
ber 40 Play-Alongs75 . Book & CD, 300 pages, German. Br
uhl,
Germany: AMA Verlag. isbn: 3-927190-93-4.
Figueiredo, Vera and Daniel Oliveira (2009). Vera Cruz Island. Brazilian
Rhythms for Drumset. Ed. by Joe Bergamini. Book & 2 CDs, 106 pages,
illustrated, English. Hudson Music. isbn: 1-4234-6982-8.
Fonseca, Duduka da and Bob Weiner (1991). Brazilian Rhythms for Drumset. Ed. by Daniel Thress. Drummers Collective Series. Book & 2 CDs,
80 pages, illustrated, English. Van Nuys, California, U.S.A.: Alfred Publishing Co., Inc. isbn: 0-7692-0987-4.
Garibaldi, David (2007). Future Sounds 2.0. In: Modern Drummer 31.4
(April). 3 pages, illustrated, English, pp. 110112. issn: 0194-4533.
Guedes, Eduardo (2009). Maracatu: Maraca 2.0Applying Pullouts and
Control Strokes in Brazilian Rhythms. Published on the website of Hudson Music, uploaded on 2009-05-14. 3 pages, illustrated, English, webpage
74
Port. Recife. African Nation. Catalogue of Afro-Brazilian Culture.

Ger. 1000 Faces of Drum Styles. The Lexicon of Drum Styles with over 40 PlayAlongs.
75
25
last accessed: 2013-03-29. url: http://www.hudsonmusic.com/hudson

/2056/education/articles/maracatu-maraca-2-0/.
Rocca, Edgar Nunes Bituca (1986). Ritmos Brasileiros e seus instrumentos de percussao. Com adapcoes para Bateria76 . Uma visao brasileira no
ensino da m
usica77 . 104 pages, illustrated, Portuguese. Rio de Janeiro:
Escola Brasileira de M
usica.
Rosenbaum, Helge (2007). Brazilian Drumming. Brasilianische Stile f
ur
78
Drumset und Percussion . Book & CD, 194 pages, illustrated, German.
Germany: Leu-Verlag. isbn: 978-3-89775-102-6.
Santos, Climerio de Oliveira and Tarcsio Soares Resende (2009). Batuque
Book Maracatu: Baque Virado e Baque Solto. 2nd edition (1st edition:
2005). Colecao Batuque BookPernambuco 1. Book & CD-ROM, 154
pages, illustrated, Portuguese, containing a complete English translation
by Peter Malcolm Keays. Recife, Pernambuco, Brazil: edicao do autor79 .
isbn: 978-85-905347-2-3.
(2010). Maracatu Nacao. Brazils Heartbeat. DVD & booklet, 114 minutes,
Portuguese (containing English, French and Spanish subtitles). Recife,
Pernambuco, Brazil: self-published.
Suzano, Marcos (2008). Pandeiro Brasileiro. A Complete Lesson with Marcos Suzano. DVD & booklet, 140 minutes, Portuguese, with English,
French, German, and Spanish subtitles. Tann, Germany: Kalango Productions.
Uribe, Ed (2006). The Essence of Brazilian Percussion & Drum Set. Reprint
(1st edition: 1993). Book & CD, 144 pages, English. U.S.A.: Alfred Publishing Co., Inc. isbn: 0-7692-2024-X.
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(n.d.[a]). Website of the group. PorEstrela Brilhante de Igarrasu

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Teaching, Multiplying and Shaping

Paper for the Seminar Musik(forschung) in Lateinamerika,

Percussionist, mathematician and ethnomusicologist at the Department Of Musicology

Thalwitzer: Maracatu de Baque Virado

2 Maracatu de Baque Virado. An Historical Outline

3 Teaching Maracatu de Baque Virado

Thalwitzer: Maracatu de Baque Virado

In February 2010, I had the opportunity to take part in an excursion to the

Portuguese, Multicultural Carnival of Recife. Recife is the capital of Pernambuco,

Thalwitzer: Maracatu de Baque Virado

Maracatu de Baque Virado. An Historical

The pre-history of the maracatu-nacao is usually considered to start with

A city next, and culturally connected, to Recife.

Thalwitzer: Maracatu de Baque Virado

In 1988, according to Jerry D. Metz, there were nine groups performing

Thalwitzer: Maracatu de Baque Virado

Thalwitzer: Maracatu de Baque Virado

Thalwitzer: Maracatu de Baque Virado

the knowledge in other musical projects (e.g. percussionist Eder

Thalwitzer: Maracatu de Baque Virado

Atomico [Galinsky 2002] on the mangue movement, which is one

Thalwitzer: Maracatu de Baque Virado

The French maracatu group Macaba and other European maracatu

Teaching Maracatu de Baque Virado

Within Recife, educational material seems to have very little importance.

Instructional Literature and Videos

Port. European Maracatu meetings.

Thalwitzer: Maracatu de Baque Virado

erable number of educational products released since then, of which I want

Port., a common term for maracatu percussion ensembles.

Thalwitzer: Maracatu de Baque Virado

percussionistas pretende adota-lo como metodo de ensino de percussao

Thalwitzer: Maracatu de Baque Virado

tions on Gongue 37 Alfaia, Caixa38 , Ganza/Mineiro/Caracaxa,

Numerous works describing how maracatu can be interpreted on the drum

Thalwitzer: Maracatu de Baque Virado

different maracatu instruments could be applied to various instruments

Thalwitzer: Maracatu de Baque Virado

Duduka da Fonseca, Bob Weiner: Brazilian Rhythms for Drumset,

Ger. standard reference for drummers interested in Brazilian music.

Thalwitzer: Maracatu de Baque Virado

Marcos Suzano: Pandeiro Brasileiro.44 A Complete Lesson with Marcos

Port. Brazilian pandeiro.

Thalwitzer: Maracatu de Baque Virado

Figure 1: The maracatu rhythm sometimes called Arrasto.

Gilson de Assis: Brazilian Conga (Atabaque). Traditional and Modern

Port. limping or dragging.

Thalwitzer: Maracatu de Baque Virado

Port. movement of maracatu workshops.

Thalwitzer: Maracatu de Baque Virado

See, for example, [Galinsky 2002, p. 180].

Thalwitzer: Maracatu de Baque Virado

Thalwitzer: Maracatu de Baque Virado

the central thesis of Ernesto Ignacio de Carvalho Dialogo de negros,

or [Estrela Brilhante Igarrasu n.d.(b)].

Thalwitzer: Maracatu de Baque Virado

ing to establish this as a permanent annual event, and to invite three

Arai, Yoshihiro (1992). Recife no karunavaru to kokujin fokuroa no keisei.

Thalwitzer: Maracatu de Baque Virado

hague, Gerard H. (2001). Brazil. In: The New Grove Dictionary of

Port.Dialogue of the Blacks, Monologue of the Whites: Transformations and Musical

Thalwitzer: Maracatu de Baque Virado

Port. Recife. African Nation. Catalogue of Afro-Brazilian Culture.