The Rhythms of Capoeira

Many of the songs take the call and response form, while others are narratives. The songs cover a broad diversity of subjects, such as history or the stories of famous capoeiristas. Some of the songs are sung to get the players to play better and some are about what is happening in the roda. Some are about love lost and others are light-hearted and playful. The tempos range from very slow (Angola) to very fast (são bento regional) and the Capoeiristas change how they are playing in response to the rhythms played on the berimbau. So the music drives the Capoeira. The movements of Capoeira are commanded by the music and singing, it is a submission of force to rhythm and of violence to melody.

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Rhythm

Rhythmically, the music is in 4/4 time, common for music in the Angolan region of Africa, where the rhythms of both Brazilian samba and Cuban guaguancó have their origins. The lyrics align themselves with the rhythm of the music, sometimes coming in on the strong beats, sometimes on the weak beats and pickups, depending on the vagaries of the song.

Songs

There are basically three types of songs in Capoeira. The song sung at the beginning of the roda is the ladainha (litany). This is a narrative solo usually sung by the mestre. They are either a well-known song written by a mestre or they may be one improvised on the spot. The ladainha is usually followed by a chula or louvação. These are sung in a call and response pattern and are usually thanking God and the teacher. The responders repeat the call word-for-word. These are usually left out of regional games. Corridos are sung whilst the games are being played. They are again call and response but the responses do not repeat the call but change it depending on the song.

Instruments

The instruments are played in a row called the bateria. Bateria means drum set in Portuguese and Spanish. In Brazil it also means a type of musical group using percussion instruments.

The main instrument is the berimbau. This is single-string percussion instrument and a musical bow. There can be three berimbaus. The bow is a steel string and there is a gourd for resonance. It is played by striking the string with a stick and the pitch is regulated by a stone. In olden times, legend says, knives and other sharp objects were attached to the top for protection in case a large fight broke out. The three berimbaus are the Berra boi or Gunga, Medio and Viola which lead the rhythm.

The other instruments in the bateria are two pandeiros, which are tambourines, a reco-reco, which is a rasp and an agogo, which is a double gong. The atabaque, a drum-like instrument is a common feature in most Capoeira baterias but is considered an optional instrument.

The fascinating thing is how these instruments harmonise the rhythm and melody, alternating and varying their sounds, like the techniques used in a Capoeira game.

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Torques

In Capoeira games, toques are the rhythms played on the berimbau. Many toques are associated with a specific game, leading the style and speed of play. Capoeira toques are based on African rhythms which were modified and developed by the Brazilian slaves.

The berimbau toque takes the player into the Capoeira trance, which is a state of consciousness where the player is free from social standards of behaviour and able to manifest his response to the rhythm and melody linked directly into the deepest part of himself.

The type of game does not decide the toque being played but the toque, with its rhythm, melody and tempo that are associated with certain ritual movements that induce the Capoeira player to modify his physical behaviour.

For example the “jogo de dentro” (inside game), under the toques of Banguelinha, Banguela and/or São Bento Pequeno, is used for the simulation of a weapon (knife, machete, dagger, razor…), inside the rules of the game (ritual) given the gentleness and slowness of the toque, which generates controlled movements and allows safe dodges, thus guaranteeing the physical safety of the players. On the other hand, the rapid and heated toque of “Cavalaria” brings about a fast and more violent game.

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Without the music, there would be Capoeira. It would just be a display of acrobatic moves. Capoeira must have its music, it just wouldn’t work. The Capoeira, unlike other martial arts needs the element of music and singing to be performed or practiced. Although the songs and music have evolved since the days of slavery, the spirits of the people of that dark time can still be found in the music and the songs.