In Capoeira music sets the rhythm, the style of play, and the energy of a game. Music is not so much a form of personal entertainment as it is a medium to bring about group cohesion and dynamic.
The instruments are:
up to 3 berimbaus
up to 2 pandeiros
1 agogô
1 reco-reco
1 atabaque or conga
The berimbaus preside over the roda, their rhythmic combinations suggesting variations in movement style between the two players in the roda. The roda begins and ends at the discretion of the lead berimbau player, who may determine who plays next, can stop games, set the tempo of the music, and calm the combatants/dancers if they get too rough.
The roda commences with the ladainha (littany), a solo often sung by the most senior member present, usually the one playing lead berimbau. These songs may be improvised on the spot. Topics for this song type include moral lessons, stories, history, mythology, can be topical for a particular occasion as well as pure poetry, and almost always metaphorical.
Iê…ê
Eu já vivo enjoado
Eu já vivo enjoado
de viver aqui na terra
amanhã eu vou pra lua
falei com minha mulher
ela então me respondeu
que nos vamos se deus quiser
Vamos fazer um ranchinho
todo feito de sapé
amanhã as sete horas
nos vamos tomar café
e o que eu nunca acreditei,
o que não posso me conformar
que a lua vem à terra
e a terra vem à lua
todo isso é conversa
pra comer sem trabalhar
o senhor, amigo meu, colega velho
escute bem ao meu cantar
quem é dono não ciuma
e quem não é vai ciumar
camaradinhoIeeeee
I am sick
of living here on Earth
Tomorrow I’ll go to the Moon
I said to my wife
And she responded
Then we’ll go, God willing
We’ll have a little ranch
All made of straw
Tomorrow morning at seven
We’ll have some coffee
What I never believed
Nor could I ever confirm
The moon would come to Earth
And the Earth to the Moon
This is just talk
to eat without working
Sir, good friend, old colleague
Listen well to my song
He who is the master of his land doesn’t envy
And he who isn’t certainly will
Camaradinho
An interpretation of this song could be: Nothing comes easy without hard work. The person who sings the ladainha cries out “Ieeeeeeee” (pronounced YaaaaaaaaY) to call to order the attendees of the roda, that the roda is starting. The ladainha ends with “Camará”, “Camaradinho” (fits better rhythmically), or conversely, “É hora, hora” (It’s the hour). This tagline marks the end of the ladainha and the beginning of the chula, or more properly louvação (praise).
The louvação begins the call and response section of the roda. The louvação invokes God, Mestres, capoeira, and gives thanks. This section are also called “Chulas. “(Italicized line is the chorus)
Iê, Viva meu Deus
Iê, Viva meu Deus, camará
Iê, Viva meu meu Mestre
Iê, Viva meu Mestre, camará
Iê, quem me ensinou
Iê, quem me ensinou, camará
Iê, a capoeira
Iê, a capoeira, camará
É Água de beber
Iê, Água de beber, camará
É ferro de bater
Iê, ferro de bater, camará
É ngoma de ngoma etc…Long live my God
Long live my Master
Who taught me
Capoeira
It is water for drinking
It is Iron for striking
It is from the sacred drums
The content of the louvação can be improvised as well, so having a good ear is critical to singing the chorus.
The two players/jogadores having sat at the pé-de-berimbau, or foot of the berimbau, during the ladainha, begin the game at the start of the corridos.
The corridos are overlapping call and response typical of African singing, and influenced by, and borrowing from the Sambas de Roda of Bahia. The chorus is often indicated by being used as the first line in the song:
Ai, ai, aidê
oiá Joga bonito que eu quero ver
Ai, ai, aidê
oiá Joga bonito que eu quero aprender
Ai, ai, aidê
oiá nossa senhora quem vai me protejerAi, ai, aidê (a girl’s name)
Play beautifully so I can see
Play beautifully so I can learn
Our Lady will protect me
The corrido communicates with the action in the roda to inspire the players, to comment directly on the action, invokes, praises, warns, tells stories, and teaches moral values.