27:
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gourd while the string resounds to shut off the sound. A specific toque requires the open string sound with closed gourd. Musicians use whatever sound they may get out of the string. It is not often considered bad practice to strike other parts of the instrument. 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.
2316:
600:
407:
237:
691:, derive from a single basic structure. Capoeira musicians produce many variations upon the basic pattern. They give names to known variations, and when such a named variation occurs repeatedly while playing, they call what they are playing by the name of that variation. The most common names are "Angola" and "São Bento Grande". There is much talking about the meaning of these terms.
631:
D). One can press the dobrão away enough from the gourd for this only if the bow is about 4 feet (1.2 m) to 4 feet 2 inches (122 to 127 cm); that was the length of the bows in the 1940s and 1950s. Today, many berimbaus are overgrown to 5 feet (150 cm), and tuning options are limited in berimbau ensembles.
415:
626:
To play the open string sound, one strikes the string less than an inch up from the gourd string, with the bow balanced on the little finger so that the gourd is opened. One can grossly tune the open sound, by loosening the arame, and by sliding the gourd a little up or down from the place where the
638:
Closing and opening the gourd while the string resounds produces a wah-wah effects, which depends on how large the gourd opening is. Whether this effect is desirable or not is a matter of controversy. Pressing the dobrão after striking the string is a widely used technique; so is closing neatly the
630:
To produce the high sound, one must hold the bow in the same way, gourd opened, and forcefully press the dobrão on the string. The sound differs from the low sound in tone and in timbre. Old recordings and musicians report that the difference in tone used to be about 1 tone (the interval from C to
706:
or the highest grade capoeirista around. Depending on the style of the group and the personality of the individual, the gunga may improvise a lot or stick strictly to the main rhythm. The person playing the gunga at the beginning of a roda is often the leader of the roda and the other instruments
642:
Of course, the strength (velocity, accent) with which one lets the baqueta hit the string is paramount to rhythm quality. The open sound is naturally stronger (meaning that, for a constant-strength strike, the other two sound weaker), but the musician may decide which strikes to stress. Also, the
740:
The berimbaus may be tuned to the same pitch, differing only in timbre. More commonly, low note of the médio is tuned in unison to the high note of the Gunga, and likewise for the viola to the médio. Others like to tune the instruments in 4ths (C, F, B flat) or a triad (C, E, G). Any tuning is
485:). 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 pitch produced by the berimbau. The sound can also be altered by moving the cabaça back and forth from the abdomen, producing a
796:
Other toques include
Idalina: (L.L.x.H.|xxL.L.H.), Amazonas: (xxLLxxLH|xxLLLLLH), Banguela: (xxL.H.H.), all deriving from the basic capoeira pattern. The toque called "Santa Maria" is a four bar transcription of the corridos "Santa Maria" and "Apanha Laranja no Chão Tico Tico".
376:
also claimed that the berimbau was a very useful weapon to the old capoeira masters of the 1920s who resisted police repression. The berimbau was used as a weapon either with one end sharpened or by attaching a blade to one end, making it the capoeira's longest-range weapon.
714:
plays "Sao Bento
Pequeno". For instance, while the gunga may play a simple, eight-unit pattern like (xxL.H.H.), the viola (or médio) can play a sixteen-unit variation, like (xxL.xLHL|.xL.H.H.). The dialog between gunga and viola (or médio) gives the
707:
follow as well. The gunga player may also lead the singing, which is made easier by the simple rhythm and little variation that he plays. The gunga is used to call players to the pé-do-berimbau (foot of the berimbau, where players enter the game).
455:
Starting in the 1950s, Brazilian berimbaus were painted in bright colors, following local
Brazilian taste; today, most makers follow the tourist consumer's quest for (faux) authenticity, and use clear varnish and discreet decoration.
590:
These categories relate to sound, not to size. The berimbau's quality does not depend on the length of the verga or the size of the gourd, rather on the diameter and hardness of the verga's wood and the quality of the cabaça.
506:
Calling the cabaça a gourd is technically a mistake. As far as
Brazilian berimbaus are concerned, the fruit used for the berimbau's resonator, while still known in Brazil as cabaça ("gourd"), it is not technically a
789:
In notating the toques, it is a convention to begin with the two buzzed tones, however it is worthwhile to note that they are pickups to the downbeat, and would more properly be transcribed: xx(L.H...xx)
143:
769:
São Bento
Pequeno de Angola Invertido: similar to Angola but with the high and low tones reversed (xxH.L...). São Bento Pequeno is typically played on Médio in conjunction with Angola on the Gunga.
339:, viola with thin cords, accelerates or contains; further away it is a frenzied dance where the gaze, the breasts and the hips provoke. It is a kind of inebriated convulsion one calls the
315:
Saturday evening, after the last working task of the week, and on holidays that give idleness and rest, the blacks have an hour or two of the evening for dancing. They assemble in their
272:
are identical in construction and playing technique, as well as in tuning and in a number of basic patterns played." The assimilation of this
Angolan instrument is evident also in other
353:
in the early 20th century in Bahia. The berimbau slowly came to replace the drum as the central instrument for the capoeira game, which it is now famous for and widely associated with.
719:
its character. In the context of capoeira Angola, the médio inverts the gunga's melody (Angola toque): (xxL.H...) by playing São Bento
Pequeno: (xxH.L...) with moderate improvisation.
2221:
141:
687:, the circle where capoeiristas engage in the game, and by extension, the game itself. The music required from the berimbau is essentially rhythmic. Most of the patterns, or
1933:
142:
2061:
459:
To play the berimbau, one holds it in one hand, wrapping the two middle fingers around the verga, and placing the little finger under the cabaça's string loop (the
900:, which serves as the "heartbeat", as part of the TaKeTiNa Rhythm Process, a musical, meditative group process for people who want to develop their awareness of
471:) 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 (
976:
296:
225:. Until the mid-20th century, it was used almost exclusively within the black community, but after the popularization of capoeira, it gain wider popularity.
737:
instrument and while one can be tuned to play a major or minor 2nd, the actual tone is approximately a neutral second lying between a whole and half tone.
1543:
623:
In playing the buzz sound, one holds easily the gourd closed against one's belly, while touching the string with the dobrão. A muted "tch" sound emerges.
210:
It consists of a single-stringed bow attached to a gourd resonator and is played with a stick and a coin or stone to create different tones and rhythms.
2231:
2023:
244:(1826). He wrote that "often one of the slaves, missing his homeland, let out his voice and sang in the public squares and around the fountains."
964:, can be seen in pre-fight intros playing a berimbau with a caxixi. Eddy also has a customisation option which places the berimbau on his back.
261:
502:
Cabaça: opened, dried and hollowed out gourd-like fruit secured to the lower portion of the berimbau, used to amplify and resonate the sound
793:
São Bento Grande as played in a regional setting places the main stress or downbeat at the final L so that it sounds: (L.xxH.L.|L.xxH.L.L)
213:
The berimbau was used in many parts of Africa and Brazil during the 19th century to accompany chants and storytelling. It is part of the
1693:
939:
782:
Toque de Iúna: introduced to capoeira by Mestre Bimba. (L-L-L-L-L-xxL-L.) (the '-' = touching the dobrão to the arame without hitting).
1512:
2216:
876:- Turkish jazz drummer and percussionist used berimbau in many songs, the most famous of which is "Denizalti Rüzgarlari" from 1975.
785:
Cavalaria: in the past, used to warn
Capoeiristas of the approach of police. (L.xxL.xxL.xxL.H.) is one example, variations exist.
1164:
1459:
1223:
1066:
1047:
1024:
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Whatever style the berimbaus call, the capoeirista must play, no matter if it is fast, slow, a fight, or only a playful game.
619:
The berimbau, as played for capoeira, basically has three sounds: the open string sound, the high sound, and the buzz sound.
1451:
726:
plays "Sao Bento Grande". Mostly variations and improvisations. It may be described as the "lead guitar" of the "bateria".
804:, before or after capoeira, with the proper toques, deriving from the samba de roda rhythmic pattern: (xxH.xxH.xx.H.HH.)
380:
The practice of hiding weapons inside musical instruments dates back to at least the early 19th century. On
November 16,
1888:
1437:
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1005:
635:
Other sounds may appear in a berimbau performance, but only these define capoeira's rhythmic patterns (except Iuna).
53:
2086:
1143:
448:), dried, opened and hollowed-out, attached to the lower portion of the verga by a loop of tough string, acts as a
1475:
2081:
1411:
2350:
1505:
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In capoeira Angola, three
Berimbaus play together. Each berimbau holds a position in relation to the "roda":
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sound tone shifts a little with the strength of the strike, and some sophisticated toques make use of this.
253:
2257:
2106:
1539:
870:- Brazilian percussionist; works with many musicians and combines many styles from different continents
327:, a kind of Pyrrhic dance, with daring combat evolutions, regulated by the Congo drum; there it is the
2038:
1993:
1647:
2293:
2156:
1498:
134:
26:
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Minnesota metal band GRYZOR uses a modern contemporary version of the berimbau in their live show.
370:
In the moment of truth it would cease to be a musical instrument and would turn into a hand sickle
2340:
2013:
1658:
1606:
893:
545:
Pedra or Dobrão: small stone or coin pressed against the arame to change the tone of the berimbau
913:, a Brazilian percussionist, plays the berimbau in the live rendition of the Atoms' "The Clock".
2003:
1881:
1624:
933:
834:
makes use of the berimbau on the track "K Is For Kelson", the first single from his 2011 album
432:
wood, which grows in Brazil), about 4 to 5 feet (1.2 to 1.5 metres) long, with a steel string (
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58:
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2151:
277:
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Broadway musical and percussionists using berimbaus during multiple songs during the show.
8:
1905:
1850:
1673:
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827:, an American percussionist and composer, nick-named throughout Europe as "Berimbau Man".
321:, calling, gathering and inciting each other, and the celebration starts. Here it is the
176:
1998:
2163:
2043:
1636:
1416:
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Fighting for Honor: The History of African Martial Art Traditions in the Atlantic World
1059:
Fighting for Honor: The History of African Martial Art Traditions in the Atlantic World
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played berimbau and other percussion instruments with modern jazz musicians worldwide.
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2008:
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The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance
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Three berimbau players playing the rhythm for a capoeira in Baltimore, MA, featuring
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364:
recalls that the capoeiristas during the prohibition used to attach a double-edged
308:
1286:. Columbia, South Carolina, USA: University of South Carolina Press. p. 184.
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São Bento Grande da Regional (or São Bento Grande de Bimba): an innovation of
766:
Angola: rests on (does not play) the last beat of the basic leaving (xxL.H...)
2334:
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1835:
1773:
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Caxixi: small rattle that optionally accompanies the baqueta in the same hand
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942:, a Brazilian funk artist has used berimbau to blend its successful hit
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440:) tightly strung and secured from one end of the verga to the other. A
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how to set up a berimbau, how to play a berimbau, berimbau information
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São Bento Grande: adds an extra hit to São Bento Pequeno, (xxH.L.L.)
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to the instrument, turning it into a deadly weapon when necessary: "
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O Estado de S. Paulo, 6–12 April 2011, Suplemento Agrícola, page 2
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Baqueta: small stick struck against the arame to produce the sound
2178:
1952:
1845:
1820:
1803:
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1165:"Uganda's Traditional Musical Instruments | Uganda Safaris Tours"
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Free berimbau instructional videos taught by Mestre Virgulino.
515:); instead, it is the fruit of an unrelated species, the tree
384:, the police inspector in Rio reported that capoeiras conceal
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1840:
1324:
1263:
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831:
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508:
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Verga: wooden bow that makes up the main body of the Berimbau
441:
385:
84:
2124:
779:, is often played in the two bar pattern (xxL.xxH.|xxL.L.H.)
228:
Today, berimbau is used in various genres of popular music.
1866:
1597:
1520:
479:– usually wooden, very rarely made of metal) and a shaker (
437:
381:
292:
36:
1412:"Building David Byrne's 'Utopia,' One Gray Suit at a Time"
463:), and balancing the weight there. A small stone or coin (
349:
The berimbau first appeared as an instrument accompanying
1312:
741:
acceptable provided it sounds good to the master's ear.
307:
in Rio de Janeiro province, linking the berimbau to the
1354:
1239:
733:
in capoeira is also loosely defined. The berimbau is a
260:
people use musical bows. According to the musicologist
1366:
1300:
1193:
978:
Capoeira: The History of an Afro-Brazilian Martial Art
890:, made use of the berimbau in his single "The Garden".
1251:
1181:
1035:
896:- The berimbau is used as a drone, along with the
555:Capoeiristas split berimbaus in three categories:
1211:
2332:
702:plays "Angola" and is most commonly played by a
436:– often pulled from the inside of an automobile
1438:Hear it here (noticeable from min 1:11 onwards)
1330:
1269:
1138:
1136:
1033:
852:, the lead singer and guitarist in metal bands
333:, with its cold or indecent postures which the
1456:: notes, sounds and rhythms, types of berimbau
1882:
1506:
1386:"Frank Colón Percussion - Latin Lounge Band"
1133:
248:Berimbau is an adaptation of African gourde
1205:
927:", as well as on several of his solo works.
1889:
1875:
1513:
1499:
1486:by Richard P. Graham and N. Scott Robinson
1144:"Royal Museum for Central Africa, Belgium"
586:if the medium tone is Viola): highest tone
268:and the "southwest Angolan variety called
1318:
1245:
1056:
744:There are countless different rhythms or
1372:
1360:
1306:
1257:
1199:
1187:
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995:
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235:
1017:Capoeira: Roots of the Dance-Fight-Game
681:In capoeira, the berimbau commands the
603:Making the three sounds of a berimbau.
492:Parts and accessories of the berimbau:
422:The berimbau consists of a wooden bow (
217:tradition, later incorporated into the
2333:
1162:
1061:. University of South Carolina Press.
797:(xxL.LLL.|xxL.LLH.|xxH.HHH.|xxH.LHL.)
1870:
1494:
950:
175:
1409:
646:
1281:
1275:
1215:Culture and Customs of South Africa
923:, played the berimbau on the song "
864:, uses a berimbau in several songs.
807:
240:An old african urucungo player, by
13:
975:Assunção, Matthias Röhrig (2002).
123:
14:
2362:
1445:
1410:King, Darryn (20 November 2019).
2315:
2314:
882:, turntablist of such groups as
154:Problems playing this file? See
139:
25:
1431:
1403:
1378:
1345:
1336:
39:), known as berimbau in Brazil.
16:Type of musical bow from Brazil
1477:The Berimbau Page at Rhythmweb
1218:. Greenwood Publishing Group.
1156:
1119:
1034:Talmon-Chvaicer, Maya (2008).
960:, Brazilian capoeira fighter,
356:
276:terms used for musical bow in
1:
1113:
1057:Desch-Obi, Thomas J. (2008).
1042:. University of Texas Press.
968:
418:A caxixi, baqueta, and dobrão
1896:
299:described free practices of
7:
1076:
187:) is a traditional Angolan
10:
2367:
1212:Funso S. Afọlayan (2004).
944:Ela Me Falou Que Quer Rave
755:
650:
426:– traditionally made from
231:
48:urucungo, madimba lungungu
2312:
2250:
2197:
2105:
1984:
1942:
1904:
1702:
1648:Music On A Long Thin Wire
1551:
1537:
1015:Capoeira, Nestor (2002).
996:Capoeira, Nestor (2007).
762:Common toques names are:
751:
401:
191:that is commonly used in
173:Portuguese pronunciation:
135:An unaccompanied berimbau
119:
114:
75:
68:
52:
44:
24:
1544:Hornbostel–Sachs numbers
1390:Frankcolonpercussion.com
1282:Obi, T.J. Desch (2008).
998:The Little Capoeira Book
919:, percussionist for the
748:played on the berimbau.
594:
819:playing berimbau, 2012.
800:Capoeiristas also play
1625:Long-string instrument
820:
678:
668:
616:
525:), known in Brazil as
419:
411:
347:
245:
195:. It is also known as
128:
1163:kawlaw (2022-09-12).
815:
673:
656:
602:
417:
409:
313:
239:
127:
59:percussion instrument
2351:Brazilian percussion
2299:Knocking and kicking
2152:Meia lua de compasso
1331:Talmon-Chvaicer 2008
1270:Talmon-Chvaicer 2008
1019:. Blue Snake Books.
1000:. Blue Snake Books.
615:: open string sound.
295:, French journalist
278:Brazilian Portuguese
254:Indigenous Brazilian
1129:. 19 November 2023.
862:Cavalera Conspiracy
499:Arame: steel string
410:Parts of a berimbau
297:Charles Ribeyrolles
70:Related instruments
21:
2258:In popular culture
2164:Meia lua de frente
1632:Melde's experiment
1417:The New York Times
1351:Houaiss Dictionary
951:In popular culture
830:Electronic artist
821:
679:
676:Mestre Cobra Mansa
617:
420:
412:
246:
177:[beɾĩˈbaw]
129:
19:
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2327:
2029:Camafeu de Oxóssi
1864:
1863:
1620:Longitudinal wave
1225:978-0-313-32018-7
1093:Uhadi musical bow
1068:978-1-57003-718-4
1049:978-0-292-71723-7
1026:978-1-58394-637-4
988:978-0-7146-8086-6
647:In capoeira music
518:Crescentia cujete
165:
164:
144:
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1684:String vibration
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844:Nana Vasconcelos
808:In popular music
666:
286:madimba lungungu
180:, borrowed from
179:
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146:
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29:
22:
18:
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2142:Chapa de costas
2137:Chapa de frente
2101:
1980:
1938:
1900:
1895:
1865:
1860:
1769:Japanese fiddle
1707:
1698:
1689:Transverse wave
1637:Mersenne's laws
1615:String harmonic
1547:
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1453:Berimbau Manual
1448:
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934:American Utopia
925:Throwing Stones
810:
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758:Capoeira toques
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667:
664:Mestre Acordeon
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388:and weapons in
362:Mestre Pastinha
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2271:Jogo de dentro
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2232:Cordão de Ouro
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2024:Cobrinha Verde
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2016:
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1727:Bladder fiddle
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1447:
1446:External links
1444:
1442:
1441:
1430:
1402:
1377:
1375:, pp. 22.
1365:
1353:
1344:
1335:
1333:, pp. 20.
1323:
1319:Desch-Obi 2008
1311:
1309:, pp. 41.
1299:
1292:
1274:
1262:
1260:, pp. 78.
1250:
1246:Desch-Obi 2008
1238:
1224:
1204:
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1190:, pp. 42.
1180:
1169:Uganda Safaris
1155:
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1083:Capoeira music
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756:Main article:
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708:
660:
653:Capoeira music
651:Main article:
648:
645:
633:
632:
628:
627:sound is best.
624:
611:: high sound.
607:: buzz sound.
596:
593:
588:
587:
577:
576:): medium tone
567:
566:): lowest tone
553:
552:
549:
546:
504:
503:
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403:
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374:Mestre Noronha
358:
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301:African slaves
233:
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219:Afro-Brazilian
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54:Classification
50:
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2022:
2020:
2017:
2015:
2012:
2010:
2007:
2005:
2002:
2000:
1997:
1995:
1992:
1991:
1989:
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1974:
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1679:Standing wave
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1374:
1373:Capoeira 2002
1369:
1362:
1361:Assunção 2002
1357:
1348:
1339:
1332:
1327:
1320:
1315:
1308:
1307:Capoeira 2007
1303:
1295:
1293:9781570037184
1289:
1285:
1278:
1271:
1266:
1259:
1258:Assunção 2002
1254:
1247:
1242:
1227:
1221:
1217:
1216:
1208:
1201:
1200:Capoeira 2002
1196:
1189:
1188:Capoeira 2007
1184:
1170:
1166:
1159:
1145:
1139:
1137:
1128:
1122:
1118:
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1108:Belembaotuyan
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1007:9781583941980
1003:
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984:
981:. Routledge.
980:
979:
973:
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959:
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954:
945:
941:
938:
935:
932:
931:David Byrne's
929:
926:
922:
921:Grateful Dead
918:
915:
912:
911:Mauro Refosco
909:
906:
903:
899:
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869:
868:Airto Moreira
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556:
550:
547:
544:
543:
542:
540:
536:
532:
528:
524:
520:
519:
514:
513:Cucurbitaceae
510:
501:
498:
495:
494:
493:
490:
489:-like sound.
488:
484:
483:
478:
474:
470:
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118:
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74:
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43:
38:
34:
28:
23:
2346:Musical bows
2319:
2276:
2269:
2262:
2092:Pé de Chumbo
2077:Jelon Vieira
2039:João Pequeno
1968:
1963:
1951:
1934:Contemporary
1856:Washtub bass
1721:
1709:musical bows
1669:Scale length
1646:
1566:Third bridge
1483:
1476:
1468:
1460:
1452:
1433:
1421:. Retrieved
1415:
1405:
1393:. Retrieved
1389:
1380:
1368:
1356:
1347:
1338:
1326:
1314:
1302:
1283:
1277:
1265:
1253:
1241:
1229:. Retrieved
1214:
1207:
1195:
1183:
1172:. Retrieved
1168:
1158:
1147:. Retrieved
1121:
1058:
1037:
1016:
997:
977:
943:
850:Max Cavalera
835:
817:Max Cavalera
799:
795:
792:
788:
777:Mestre Bimba
761:
745:
743:
739:
729:
723:
716:
711:
703:
699:
693:
682:
680:
657:
641:
637:
634:
618:
612:
608:
604:
589:
583:
579:
573:
572:(others say
569:
563:
562:(others say
559:
554:
538:
534:
530:
526:
523:Bignoniaceae
516:
505:
491:
480:
476:
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468:
464:
460:
458:
454:
445:
433:
427:
423:
421:
389:
379:
369:
360:
348:
340:
334:
328:
322:
316:
314:
290:
285:
281:
280:, including
269:
265:
262:Gerard Kubik
250:musical bows
247:
227:
212:
209:
196:
184:
168:
166:
153:
115:Sound sample
109:Washtub bass
2200:foundations
2082:Cobra Mansa
2057:João Grande
2044:Canjiquinha
1831:Psalmodicon
1744:Diddley bow
1603:Fundamental
1593:Fingerboard
1573:Chordophone
1531:instruments
1088:Musical bow
917:Mickey Hart
880:Cut Chemist
825:Frank Colón
357:As a weapon
270:mbulumbumba
189:musical bow
89:Diddley bow
63:musical bow
45:Other names
33:musical bow
2335:Categories
2198:Groups and
2107:Techniques
2097:Amen Santo
2052:Leopoldina
2048:Gato Preto
2004:Sinhozinho
1764:Ichigenkin
1759:Ground bow
1704:Monochords
1694:Tuning peg
1674:Soundboard
1588:Enharmonic
1174:2024-01-08
1149:2015-04-11
1127:"Berimbau"
1114:References
969:Literature
962:Eddy Gordo
888:Jurassic 5
874:Okay Temiz
837:Mind Bokeh
735:microtonal
305:plantation
199:among the
197:sekitulege
156:media help
2130:Aú batido
1811:Langeleik
1749:Duxianqin
1642:Monochord
1611:Overtones
1607:Harmonics
1231:10 August
854:Sepultura
564:Berra-boi
539:cabaceira
450:resonator
396:sugarcane
215:candomblé
185:mbirimbau
2321:Category
2294:Maculelê
2278:Batizado
2251:See also
2237:Candeias
2189:Headbutt
2184:Rasteira
2174:Queixada
2157:Scorpion
2120:Negativa
2067:Acordeon
2062:Suassuna
2034:Waldemar
1994:Pastinha
1964:Berimbau
1959:Atabaque
1929:Regional
1898:Capoeira
1826:Onavillu
1779:Genggong
1774:Jaw harp
1722:Berimbau
1664:Re-entry
1521:Musical
1484:Berimbau
1469:Berimbau
1461:Berimbau
1423:20 April
1395:20 April
1077:See also
958:Tekken 8
940:MC Levin
894:TaKeTiNa
884:Ozomatli
661:—
584:Violinha
527:calabaça
521:(family
511:(family
398:pieces.
351:capoeira
336:urucungo
324:capoeira
318:terreiro
282:urucungo
266:berimbau
258:European
252:, as no
223:capoeira
182:Kimbundu
169:berimbau
101:Quijongo
20:Berimbau
2284:Batuque
2207:Senzala
2179:Martelo
2019:Noronha
1999:Besouro
1986:Mestres
1953:Bateria
1924:Carioca
1906:History
1846:Umuduri
1821:Masenqo
1804:Mukkuri
1799:Morsing
1739:Đàn bầu
1732:Boom-ba
1717:Ahardin
1523:strings
1103:Malunga
1098:Kalumbu
858:Soulfly
477:vaqueta
473:baqueta
391:marimba
330:batuque
309:batuque
232:History
201:Baganda
97:Malunga
93:Kalumbu
31:Angola
2169:Armada
2087:Barrão
2072:Moraes
1970:Toques
1919:Angola
1914:Engolo
1851:Unitar
1816:Lesiba
1794:Kubing
1789:Khomuz
1784:Gogona
1754:Ektara
1578:Course
1561:Bridge
1529:, and
1290:
1222:
1065:
1046:
1023:
1004:
985:
902:rhythm
752:Toques
746:toques
731:Tuning
704:mestre
689:toques
531:cueira
482:caxixi
469:dobrão
446:cabaça
429:biribá
402:Design
394:s and
386:spears
366:sickle
284:, and
264:, the
242:Debret
205:Busoga
193:Brazil
2304:Ladja
2289:Samba
2227:Abadá
2115:Ginga
2014:Bimba
1976:Songs
1944:Music
1841:Tumbi
1583:Drone
1527:wires
898:surdo
832:Bibio
802:samba
724:viola
717:toque
712:médio
700:gunga
595:Sound
580:Viola
574:Viola
570:Médio
560:Gunga
537:, or
509:gourd
465:pedra
442:gourd
434:arame
424:verga
342:lundu
303:on a
274:Bantu
105:Uhadi
85:Bobre
81:Benta
2264:Roda
2222:GCAP
2217:FICA
2009:Zuma
1654:Node
1598:Fret
1540:List
1425:2021
1397:2021
1288:ISBN
1233:2012
1220:ISBN
1063:ISBN
1044:ISBN
1021:ISBN
1002:ISBN
983:ISBN
886:and
860:and
722:The
710:The
698:The
684:roda
535:cuia
461:anel
438:tire
382:1832
293:1859
221:art
203:and
167:The
61:and
37:1922
2212:Axé
1706:and
1659:Nut
1556:Bow
956:In
487:wah
475:or
467:or
372:."
291:In
256:or
2337::
2125:Aú
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1388:.
1167:.
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613:C
609:B
605:A
582:(
444:(
345:.
171:(
158:.
35:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
