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The Berimbau is a single-string percussion instrument, a musical bow, from Brazil. The Berimbau's origins are not entirely clear (some say the Berimbau came from Africa, or at least has African influence; similar instruments are played in various parts of Africa), but the Berimbau was eventually incorporated into the practice of the Brazilian martial art capoeira, where it commands how the capoeiristas move in the roda. The instrument is known for being the subject matter of a popular song by Brazilian guitarist Baden Powell, with lyrics by Vinicius de Moraes. The instrument is also a part of candomble tradition.
A sample of an unaccompanied berimbau: media:Toque-de-angola.ogg (ogg format, 17 seconds, 174KB).
Design
The Berimbau consists of a wooden bow ("verga" - traditionally made from "biriba" wood, which grows in Brazil), about 5 feet long, with a metal string ("arame" - traditionally pulled from the inside of an automobile tire) tightly strung and secured from one end of the verga to the other. An opened, dried and hollowed-out gourd ("cabaça") is attached to the lower portion of the Verga, secured by a loop of tough string. This acts as a resonator. To play the berimbau, one holds the berimbau in one hand, wrapping the two middle fingers around the verga, and placing the little finger under the cabaça's string loop, and balancing the weight there. A small stone or coin ("dobrão") is held between the index and thumb of the same hand that holds the Berimbau. The cabaça is rested against the abdomen. In the other hand, one holds a stick ("baqueta" - usually wooden, very rarely made of metal, as a metal baqueta produces a bad tone on the Berimbau) and a rattle ("caxixi"). One strikes the arame with the baqueta to produce the sound. The caxixi accompanies the baqueta. The dobrão is moved back and forth from the arame to change the tone of the Berimbau. The sound can also be altered by moving the cabaça back and forth from the abdomen, producing a wah-like sound.
Parts and Accesories of the Berimbau:
- Verga: Wooden Bow that makes up the main body of the Berimbau.
- Arame: Metal string.
- Cabaça: Opened, dried and hollowed out gourd secured to the lower portion of the Berimbau, used to amplify and resonate the sound.
- Dobrão: Small stone or coin pressed against the arame to change the tone of the Berimbau. Stones are sometimes called "pietra".
- Baqueta: Small stick struck against the arame to produce the sound.
- Caxixi: Small rattle that accompanies the Baqueta in the same hand as the Baqueta.
There are three types of Berimbau.
- Gunga: Largest cabaça, lowest tone. Sometimes called Berra-Boi instead of gunga.
- Médio: Medium cabaça, medium tone.
- Viola: Smallest cabaça, highest tone
Play
The berimbau, as normally played, has a relatively small repertoire of sounds. However, subtle differences in the way each sound is played give the berimbau a very organic and musical sound. The basic sounds are:
- Low note - the arame is struck while the dobrão is not touching it and the cabaça is held away from the abdomen. A clear tone emerges.
- High note - the arame is struck while the dobrão is pressed firmly against it and the cabaça is held away from the abdomen. A clear, higher, tone emerges.
- Buzz note - the arame is struck while the dobrão is held loosely against it and the cabaça is held closed against the abdomen. A muted "tch" sound emerges.
- Martelo - the arame is atruck forcefully while the dobrão is held loosely against it, but the baqueta "sticks" to the arame and continues to apply pressure. The cabaça is held closed against the abdomen. A stronger but shorter "tch" sound emerges.
- A whole family of sounds can be made by moving the dobrão after the arame is struck. For eaxmple, in one case, the arame is first struck openly, then the dobrão is quickly applied loosely to the arame. The resulting sound is an open tone followed by a quick muted "tss" sound (this sound is also called a martelo bu some musicians).
Other sounds are also used (the dobrão can be moved after the arame is struck, the cabaça can be struck directly) and the movement of the cabaça controls the resonance of the sound - short notes are "killed" by closing the cabaça while long notes are allowed to ring in an open cabaça. When the berimbau is used in popular music, even more variation is used.
As with most aspects of playing the berimbau, the names of the techniques differ from teacher to teacher. Most teachers, and most students, worry more about producing a nice sound than about naming the individual sounds.
Use in capoeira
In capoeira, the three Berimbaus are played together, and each plays a different role.
The Gunga plays the bass line, rarely improvising its rhythm (in capoeira, it takes much patience to play Gunga). The person playing the Gunga is normally the leader of the roda, and the other instruments all follow the gunga. The Gunga is used to call players to the pé do berimbau to begin and end games, and the Gunga player is ultimately in charge of the whole roda. In some traditions, the Gunga player would lead all songs, and the Gunga would be tuned to his voice.
The Médio plays the main rhythm, and its role can be likened to a rhythm guitar in a rock band. In the "Angola" style of capoeira, the Médio sometimes plays the reverse of the Gunga. The Médio plays variations from time to time, in a disciplined way. Normally the Médio is tuned so that its low note matches the Gunga's high note.
The Viola plays mostly variations and improvisations of the main rhythm, and its role can be likened to the role of a solo guitar in a rock band. The Viola player will often play variations to accentuate the songs being sung. The Viola is normally tuned so that its low note matches the Médio's high note.
A well played and well tuned assembly of Berimbaus sounds quite beautiful and moving.
There are countless different rhythms or "toques" played on the Berimbau. Their names and meanings may vary from group to group, particularly for the less common toques. Minor variations are also common. Here are a few of the most common toques used in capoeira today:
- Toque de Angola: Slow rhythm played to command a slow, low-to-the-ground and very sneaky Capoeira game.
- Toque de São Bento Pequeno: Medium rhythm, played to command a medium paced Capoeira game, with emphasis on movement.
- Toque de São Bento Grande: A very fast rhythm, played to command a fast, athletic and agressive game, with some acrobatics.
- Toque de Iúna: A medium paced rhythm. When played, only Capoeira graduates (Professor, Contra-Mestre, Mestre, etc.) may play in the Roda. The game has emphasis on esthetics (acrobatics and exhibitionism). This toque is normally not accompanied by the rest of the instruments.
- Toque de Cavalaria: In the past, used to warn Capoeiristas of the approach of police. Now used for a much faster game, without placing your hands on the ground.
Other toques include Idalina, Amazonas, Santa Maria, Banguela, and Jogo de Dentro. When the berimbau is used in popular music, in samba, or in candomble ritual, still other toques may be used.
Note: "Toques" vary between Capoeira groups and artists.
Berimbau Players in other styles of music
- Max Cavalera - Lead singer and guitarist in metal bands Sepultura and Soulfly
See Also
References
- McGowan, Chris and Pessanha, Ricardo. "The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil." 1998. 2nd edition. Temple University Press. ISBN 1-56639-545-3