The Capoeira Angola Music

The following description of how the music is played and organized in the Capoeira Angola was provided by Mestre Jogo de Dentro, a well know Master dedicated to preserve the traditions taught by Master Pastinha and Master Joao Pequeno, of whom he is a former student and disciple. Master Jogo de Dentro is the founder and leader of the Groupo Capoeira Sememte do Jogo de Angola since 1990.

Mestre Jogo de Dentro has approximately 200 students spread across the cities of Salvador-BA, Sao Paulo-SP, Campinas-SP, Santa Rita do Sapucai-MG (Brazil), Lousane-Switzerland, Montreal and Toronto, Canada. The Groupo Cordao de Ouro is lucky and blessed to have such a positive and inspiring Master as a close friend.

Ladainha (Litany)

The ladainha, or litany, expresses lament, emotion, and the message of the capoeirista. Listeners must pay attention respectfully. During the litany the capoeirista remains in front of the berimbaus, attentive and waiting. The beginning of the first corrido, or song that follows the litany or eulogy, gives permission for the players to enter the roda and begin their game. The reco-reco, double-bells, and drums also remain silent during the litany. The ladainha can be sung by anyone playing an instrument, and even by one of the two capoeiristas waiting at the foot of the berimbau. The Master always has priority and must be asked for permission to sing.

Louvação (eulogy)

For the capoeirista, the louvação is a time to express gratitude to the Master, to God, to the teachings. It is also a tribute to the heroes of our history. Like the ladainha, it must be listened to respectfully from the foot of the berimbau. In the louvação, the chorus responds to the main singer.

Corrido (song)

Corridos are usually short verses and as in the louvação, which they follow, the chorus must respond to the singer. These verses mark the moment of enjoyment, for a play. The good singer tries to capture the action of the roda with his songs. He incites the capoeirista to play a friendly or aggressive game.

In a capoeira roda, songs have great significance. With its own meaning, each sentence can send a particular message. A song can be used as an offensive, or to express pain, joy, anger, sadness, satisfaction, or many other feelings. For example, to the capoeiristas who like to play by grabbing and clinging to their opponents, the following song can be used:

DONA ALICE

Oh Dona Alice não me pegue não Não pegue não me agarre não me pegue não... Oh Dona Alice don't grab me, Don't grab me, don't cling to me, don't grab me, don't Chorus: Oh Dona Alice don't grab me, Don't grab me, don't cling to me, don't grab me, don't

In the understanding of Master Jogo de Dentro, a good capoeirista does not touch his opponent. He/she must be agile, clever, and wise. For the capoeiristas who use violence as recourse in the roda, wanting to show their superiority by hurting their opponent, the following song is sung:

PLEASE MY BROTHER Please my brother I don't want trouble here I don't want trouble here, because trouble only brings confusion Chorus: Please my brother I don't want trouble here

In reality, the person that is being aggressive in the roda just shows their own lack of knowledge and consciousness, since capoeira Angola, while dangerous, is not violent. Danger in the game of capoeira Angola comes from deliberate, precise movements that leave the partner without means of self-defense.

The Beats and the Game

Angola Beat<------- Click here for audio example

How to play: Buzz buzz on off

The Angola beat is played by the berimbau named Gunga (bass berimbau). The Gunga commands the roda in the Capoeira Angola by initiating it and establishing the cadence of the rhythm.

Sao Bento Pequeno<------- Click here for audio example

How to play: Buzz buzz off on

The Sao Bento Pequeno beat is played by the Berimbau Medio (middle berimbau) and accompanies the rhythm of the Angola beat.

Sao Bento Grande de Angola Beat<------- Click here for audio example

How to play: Buzz buzz on off off

The Berimbau Viola (treble berimbau) plays this rhythm. The Viola accompanies the Gunga and is allowed a wide range of variations.