Berimbau toque

Different Capoeira groups will practice certain toques more regularly, and each toque
may be practised slightly differently. These are the ones that have come into my radar
so far. The notation is explained further down. I explore variations and toques in more
depth in different individual entries (just click on the links).

* Angola tsh#tsh# dom dim

Variations
1) tsh#tsh# dom tsh#tsh# dim tsh#tsh# dom dim
2) tsh#tsh# dom dimdomdim tsh#tsh# dom dim
3) tsh#tsh# dom dimdomdimdomdimdom dim
4) tsh#tsh# dom dim dim dim dom dim
5) tsh#tsh# domdom dimdim dom dim
6) tsh#tsh# domdomdomdom dim dom dim
7) tsh#tsh# domx8 or x10 dim
8) tsh#tsh# domtss domtss domtss domtss dom dim
9) tsh#tsh# domtss domtss domtss dom dim dom dim
10)(tsh#tsh#)dom tsh#domdom tsh#domdim (Silvio Acaraje, Angola Antiga)
11)(tsh#tsh#)dom tsh#domdom tsh#dom tsh#domdom tsh#dom tsh#domdom
tsh#domdim
12)tsh#tsh# dom dim (dim)domdim domdimdomdim
13) tsh#tsh# domdimdomdom tsh#tsh# domdimdomdim
* Angola Tradicional tsh#tsh# dom dom dimdimdimdim dom dim
tsh#tsh#dom dimdomdim dom dom dim
tsh#tsh#dom tsh#domdim dom dom dim
* Angola corrida
tsh#domdim

* Angolinha * domtss# domtss# domtss# dom dom (Valdemar)

tsh#tsh# domtss# domtss# dim (Gato Preto, aka So Bento Pequeno)
* So Bento Pequeno dim dom tsh#tsh# Variations:
1) tsh#tsh# dim tsh#tsh# dom tsh#tsh# dim dom (dom)
2) tsh#tsh# dim domdimdom tsh#tsh# dim dom
3) tsh#tsh# dim domdimdomdimdomdim dom
4) tsh#tsh# dim dom dom dom dim dom
5) tsh#tsh# dimdim domdom dim dom(dom)
6) tsh#tsh# dimdimdimdim dom dim dom
7) tsh#tsh# dimx8 or x10 dom
8) tsh#tsh# dim domtss domtss domtss domtss dom
9) tsh#tsh# domtss domtss domtss dim dom dim dom

Practice along to A poesia de Boca Rica

* So Bento Grande a) tsh#tsh# dim dom dom b) tsh#tsh# dim dim dom c)(Mestre
Bimba) tsh#tsh# domdim tsh#tsh# dom dom dim
Variations:
1) tsh#tsh# dim domtss dom dim dom dom
2) tsh#tsh# domdomdomdom dim dom dom
3) tsh#tsh# dimdomdimdom dim dom dom
4) tsh#tsh# dim dom dom dom dim dom dom
5) tsh#tsh# dim dom dom domtss# dim dom dom
6) tsh#tsh#dim tsh#tsh#dom tsh#tsh#dimdomdom
7) tsh#tsh# dim dom #domdomdom dim dom dom dom dim dom dom
8) tsh#tsh#dim tsh#tsh#dom# domdomdom dim dom dom
Andante by Mestre Acordeon (Capoeira Bahia album) is a song I like to play along to.
General variation to practice: dom tss domdom tss dom dom tss
* Jogo de dentro tsh#tsh# dim dom dim
Close and tight game, circling around the opponent. Opponents stay low, tight and as
close to each other as possible.
Variations:
1) tsh#tsh# dim dom dim x2 tsh#tsh# dimdom domdomdomdomdomdim
2) tsh#tsh# dim dom dim x2 tsh#tsh# dimdomdim domdimdomdim
3) tsh#dim tsh#dim tsh#tsh#dimdomdim (from Mestre Trairas album)
4) tsh#tsh# dim dom dim domdomdimdomdomdim
5) tsh#tsh# dim dom dim tsh#domtsh#dimtsh#domtsh#dimdomdim
* Miudinho Mestre Suassunas variation of Jogo de dentro. A game to be played in
very small spaces! Miudinho played by Mestre Suassuna
tsh#tsh# dim tsh# dim (basic)
tsh#tsh# dim dom dim (variation)
* Amazonas by Mestre Bimba
A toque to welcome visiting mestres
tsh#tsh# dom tsh# dom dim tsh#tsh# dom dom dim x2
tsh#tsh# dom dimdomdimdom dim dom dom
dimdimdimdim domdomdomdom dimdimdimdim domdomdomdom
dim dom dim dom dom dim
* Banguela by Mestre Bimba close to the ground, no touching, as if your partners
body was on fire, add extra dim to Angola dom dim dim tsh#tsh#
Cavalaria
tsh#(tsh#)domtsh#(tsh#)domtsh#(tsh#)dom (domdomdom)
* Cavalaria by Mestre Bimba
tsh#tsh#dom tsh#tsh#dom tsh#tsh#domdimdom x2
tsh#tsh# dom dom dom dom dom dom domdimdom
tsh#tsh# dom dom dom dom domdimdom
* Idalina by Mestre Bimba, for games with blades of any size, big or small!
tsh#tsh# dom dom dim dom dom tsh#dim
Variations:
tsh#tsh# dom dom dim dom dom dimdim
tsh#tsh# dom dom dim dom dom dimdomdim
tsh#tsh# domdomdom dim domdom dimdomdim
* Ina by Mestre Bimba- name of a bird elegant game, only for graduated capoeira
students.
1st part : dom tsh#tsh# dom#tss# dom#tss# x2
2nd part : dom# dom dom dom dom domtss domtss tsh#tsh# dom#tss# dom#tss#
variation of 1st part : domtss domtss domtss domtss domtss tsh#tsh# dom#tss#
dom#tss#
* Santa Maria (Regional Mestre Bimba)
Base
tsh#tsh# dom dom dom dom dom dimdomdim
tsh#tsh# domdimdomdim
tsh#tsh# domdimdomdimdomdimdom dimdomdim
Variations:
tsh#tsh# domdomdomdomdomdomdom dom dimdomdim
tsh#tsh# domtss domtss domtss domtss dom dimdomdim
Mestre Bimbas album, to practice regional toques along to.
* Santa Maria razor game
dom dom dom dom tsh#tsh# dom dim dom dim tsh#tsh#
dim dim dim dim tsh#tsh# dim dom dim dom tsh#tsh#
and Apanha a laranja in Angola, game to pick objects off the floor with mouth.
tsh#tsh# dom dom dom dom tsh#tsh# dom dom dom dim
tsh#tsh# dim dim dim dim tsh#tsh# dim dim dim dom
* Samango by Mestre Canjiquinha toque for lateral, dynamic game also created by
Mestre Canjiquinha.
tsh#dom tsh#dom tsh#dom tsh#domdomdomdom
tsh#domdomdomdomdomdomdomdom
* Toque de Barravento
tsh#dom#tsh#dom#tsh# dom#domdomdom (repique, add domx6)
domtssdomtsstsh# domtssdomtssdomtsstsh#
* Abar Mestre Poncianinho
tsh#tsh#dom tsh#tsh#dom tsh#tsh#domdomdomdim
tsh#tsh#dim tsh#tsh#dim tsh#tsh#dimdimdimdom
* Samba De Roda de Angola
tsh#tsh#dom tsh#tsh#dom tsh#tsh# domdomdomdom
Variation: tsh#tsh#dim tsh#tsh#dim tsh#tsh#dim dimdimdim

Notation (this notation is the simplest I could come up with for computer keyboard)
# -> this means the cabaa is touching the stomach, the absence of it means its away.

dom = nota solta (loose note), berimbau away, dobro doesnt touch wire (arame) when
baqueta hits it.
dom# = as above, berimbau close.
dim = nota presa (tight note), berimbau away, dobro touches wire firmly when baqueta
hits wire.
dim# = as above but berimbau close.
tsh = as below but berimbau is away, not seen this yet, but here for sake of
completion. It must be used somewhere.
tsh# = nota mdia (medium note), berimbau close, dobro touches wire loosely when
baqueta touches wire. The distinctive chiado sound.
tss = meia nota (half note), dobro just touches wire, commonly after a nota solta.
tss# = as above but berimbau is touching the body.

http://capoeira.tootington.com/2016/capoeira-toques-updated/

Important toques[edit]
Some of the more important toques are described below, including; traditional toques, and those
created or popularised by Mestre Bimba who was responsible for significant developments to
modern capoeira.

Notation[edit]
 = Open berimbau tone. The arame is struck with the dobro open and the cabaa
away from the stomach for a low note, or dobro pressing firmly for a high note. In this
notation, notes that are unfilled are played unmuted rather than representing a half note.

= Muted berimbau note (cabaa is held against the body).

= A buzz (strike the arame with the dobro resting lightly on the arame and the cabaa
against the body)

Double and single eighth notes. An eight note is 1/2 a beat.

= A slur (press the dobro against the arame without striking with the other hand)

= A quarter note rest (1 beat)

= An eighth note rest (1/2 a beat)

= Shows the basic pulse underneath the bar for comparison. Four boxes
= 1 beat

The Traditional Toques[edit]

Angola[edit]
Considered the oldest and most traditional toque. Used for the
Angola game, a slow performance where players demonstrate
balance and corporal expression. Used with the So Bento
Pequeno toque. Tempo can range from slow to moderately fast.
Images are given below to illustrate the structure of this common
toque.

The basic:
Some common variations played by the viola:
So Bento pequeno[edit]
Also known as So Bento pequeno or Inverted Angola (because
it replaces the high note of the Angola toque with the low and vice
versa). A close, fast game. So Bento Pequeno is also sometimes
played as a contra-toque (an inversion the gunga) by the medio
berimbau.

Variations are the same as above, but with High and Low tones
swapped.

So Bento grande[edit]
This is a very fast game played with ample movements. Leg
sweeps and take downs are common in this game. The toque is
identical to So Bento Pequeno, except that the 1/4 note pause is
replaced by an additional solto note (i.e. the open note struck below
the level of the coin) and the tempo is faster.

Santa Maria[edit]
A toque used for the not often seen 'money', game where the
players try to pick up a coin purse placed in the center of
the roda with their mouths, the melody imitates the corrido Santa
Maria, Me de Deus. The corrido Apanha Laranja no Cho Tico
Tico (no leva com mo, s com p ou com bico) gives general
rule for the game: use your mouth and feet, not your hands.
Cavalaria[edit]
Originally used to alert players that the police were coming, the
toque imitates the galloping of horses (and some say it sounds like
a police siren)

Samba de Roda[edit]
This rhythm comes from the traditional Sambas de Roda of Bahia
and is perhaps the oldest of the toques listed. It is used as a toque
variation for the berimbau viola, as well as for a post-roda
celebration.

Toques created and played by Mestre

Bimba[edit]
So Bento grande de Bimba[edit]
This rhythm is often called "So Bento Grande de Regional" or
simply "Regional". Mestre Bimba created this fast, explosive
rhythm, and it is the staple toque of true Regional Rodas.

Ina[edit]
Ina is an old viola guitar rhythm used in the sambas of the
Recncavo, Bahia. Bimba, himself an accomplished master of the
viola de samba, brought iuna into capoeira as a rhythm on the
berimbau. He said that was an imitation of the Ina bird's song - of
the male calling and the female responding. A medium-paced and
graceful game, it is played traditionally by "formados" (graduated
students) at the end of the roda. Throws (baloes), in which partners
throw each other and must land on their feet, are inserted within the
game.

Banguela[edit]
Banguela is a slow rhythm created by Mestre Bimba. It is a "jogo de
floreios", not in the sense of acrobatics like in Capoeira
Contempornea rodas, but in the sense that both players assist
each other in creating a beautiful and flowing game that
demonstrates their skills. It tends to be played close and low to the
ground, since the rhythm is slow.
it has been nicknamed "the game of the toothless"

Idalina[edit]
A slow to moderate rhythm, Idalina was also created by Mestre
Bimba, and is often heard in regional rodas. Players tend to play
both "up" and "down". "Idalina Compassada" is slower-paced, while
"Idalina" is slightly faster-paced.

Amazonas[edit]
Amazonas is a rhythm created by Mestre Bimba. It has no
traditionally-associated game, but is sometimes played during
graduation rodas.

Santa Maria[edit]
Mestre Bimba's Santa Maria is different from the Santa Maria in
Capoeira Angola. It does not have a traditionally-associated game
but is played at a medium-pace. According to Mestre Nenel, Mestre
Bimba's son, it is unclear whether Mestre Bimba created this
rhythm.

Cavalaria[edit]
Mestre Bimba strove to preserve the cavalaria rhythm in honour of
the past when capoeiristas used it to warn each other of the
approaching police or cavalry, but it is not played during classes
and rodas.

Hino da Capoeira Regional: (Capoeira

Regional Anthem)[edit]
The anthem of Capoeira Regional is a rhythm created by Mestre
Bimba. Traditionally, it is played at the end of classes and rodas, as
participants stand silently and respectfully in a circle as the toque is
played

Capoeira Contempornea versions of Mestre

Bimba's toques*[edit]
It should be noted that these are modern versions of Mestre
Bimba's toques and does not represent how he played them in his
rodas.

Regional[edit]

Iuna[edit]
It usually switches between one of a set of variations and a
repeated common measure.

Phrase 1:

Phrase 2:

Phrase 3:

Phrase 4:

Benguela (not Bimba's Banguela)[edit]

Idalina[edit]

Amazons[edit]
Three Versions Below:
Other toques[edit]
Miudinho[edit]
Created by Mestre Suassuna. It is a fluid, low, fast game with lots
of circular movements and without sweeps and hits. [1] There is only
sometimes clapping or singing.
Mestre Suassuna: "The game of miudinho is generating
controversy because it is being misinterpreted. People are thinking
it's a new capoeira, and it's nothing like that. I simply rescued an
older capoeira, modernized the manner of playing it, changed the
sequences... the name miudinho arose because I was observing
that capoeiristas were playing very distant from each other and in
our time we played very close; thus, I said to people, 'I want the
game more minute, closer, play very tiny.' Then, I created a toque
on the berimbau. Miudinho is not a new capoeira, it's a different
manner to display capoeira. Just like the games of Iuna and So
Bento Grande exist, the game of miudinho exists."