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 *OUSPEVDUJPO
This sampler booklet is a collection of material that I have
compiled over the past 10 years into two full books. My goal with
this booklet is to present an accessible and pragmatic approach
to learning and understanding the instruments and basic rhythms
of Maracatu de Baque Virado, Forr and Baio. It!s important for
me to point out that this is just a brief overview of two full length
in-depth books. I think that it!s impossible to write a single book
that completely embodies a rhythm and culture as rich as
Maracatu, Forr and Baio however I have tried to present the
foundation in this sampler booklet to help you develop a
vocabulary that will enhance your understanding of these
rhythms and hopefully will inspire you to research and dig deeper
on your own.

In the following pages I!ll share some of the rhythms and beats
(baques) that I!ve learned from my mentors and teachers in
Recife, Brazil. I!ll also share with you my own interpretations and
variations that have evolved over the years of playing this music.

I hope that the material in this booklet will help deepen your
understanding of Maracatu, Forr and Baio and will inspire you
to further explore and study this music and culture. Remember
that this is just a guide to help get you started. There!s no better
way to learn a style of music than going to the source and
drinking from the fountain. So when the spirit moves you...go to
Recife and learn with the masters who live and breathe this
music and culture on a daily basis.

Remember to have fun and keep an open mind while studying

this material.

-Scott Kettner
.BSBDBUV
EF
#BRVF
7JSBEP
For years, most Americans have associated Brazil with samba,
overlooking the numerous regional rhythms and music styles which
are tremendously popular throughout Brazil. A perfect example is
Maracatu- a dynamic rhythm from the Northeast, propulsive and
dramatic, steeped in African traditions with heavy religious
overtones. In the last ten years, the biggest musical success story
out of Brazil has been the explosion of music from the economically
impoverished, culturally rich Northeast. World-famous musicians like
Chico Science and the Mangue beat movement that sprung up
around him used Maracatu as a springboard for contemporary
fusions in the same way that Jorge Ben Jor and other MPB artists
used samba a generation earlier.

Maracatu Nao or Maracatu de Baque Virado is a cultural

performance that derives from a ritual of the African slaves in Recife
(capital city of Pernambuco) approximately 400 years ago when they
crowned their own king inspired by the Portuguese colonizers. To this
day the crowning part of the ceremony still exists and a parade of
Maracatu de Baque Virado still symbolizes the royal court
accompanied by a percussion group representing slaves.

The origins of Maracatu can be traced back to the Reis do Congo

(Kings of Congo) procession. The institution of the Kings of Congo
(or Reis Negros i.e. Black Kings) existed in colonial Brazil from the
second half of the 17th century until the abolition of slavery, in 1888.
The King of Congo was a black African (slave or freeman) who acted
as an intermediary between the government (Portuguese or, after
independence, Brazilian) and the African slaves. He was expected to
control and keep peace among his "pupils." From this institution,
which existed throughout Brazil, different folk manifestations evolved
in several regions of the country. It was in Pernambuco that the
culture and music of Maracatu de Baque Virado evolved, and to this
day still plays an important role in the community.
 NBSBDBUV

DBJYB
The caixa might be one of the hardest instruments in maracatu to pin down to
Maracatu Caixa Patterns
a basic pattern since there are so many variations, rolls, sticking patterns and
Scott Kettner
feels. Some traditional maracatu nations use two caixas which play different
rolesBaque
andde Marcao
different patterns. They are called the tarol and the caixa de

> >caixa > de > > is> usually

> guerra > > deeper
> > and > similar
> > to> a >standard
> > >snare>
guerra. The tarol is generally a shallow snare drum similar to a piccolo snare

4 . ..
and the
4 . found on a drum set.
&drum
HereRwe!ll R Ltake R R aLlook
R L at Maracatu Caixa Patterns
R some
R L R ofR the L RcaixaL RdeR guerraL R R patterns
L R L R and R L variations.
R R LR L
Please take note that while these patterns may provide an insight intoScott the Kettner
way
Baque de de Marcao
Imale
Maracatu Caixa Patterns
the traditional maracatu nations play, they are taken out of their traditional
Baque
> > > > > >>
context and have been adapted for you to use as a springboard to Scott Kettner
> > > > > > > > > > > >
learn the
>de Marcao
>patterns > and > Maracatu
> feels > > >maracatu.
> playing >always
> > IPatterns
Caixa > >emphasize> >
go4.. to
....

basic of that you must
.. Maracatu
&context. Caixa Patterns
Baque

4 Baque
Scott Kettner
> >So > > > > > > > > > >learn> from
> the > masters!
> > >Scott> Kettner >
the source if you want to learn how to play these rhythms in a traditional

4 R. RL RR LL RRRLLRR LL RR RR LL RR RR LL RR LL RR LRRL LR RR LL RR LL RR RR LL RR RRLLRRLL.

start here and then go to Recife and
& 4 .Baque > > > >> > > > > > > > > >> > > > .
de Marcao

> de>deMarcao
4 .. R> Rde>Imale
Marcao
> #1> > > > > > > > > > > > > > > > > ..
Baque
& 4Baque
LR R LR LR R LR R LR L R R LR R LR LR R LR R LR L

4 .. R R L >R >R L >R L R> R> L R R> L R> L >R R L R> R>L R> L R R L R> R>L R>L ..
Baque de Imale

 & 4Baque > de Imale > > > >> >> > > > > >> >> >
. @. R RLRRL R LRR L R R L R L R@. R LR R L R L R R L R RLRL .. .
& .Baque > de Imale > > > >> > > > > > > > >> > > > .
.
& .Baque R Lde
L RRLLRRLL RR R R LL RR R LL RR LL RRL R LL R R LL RR LL RR RRLL RR RR LLRRLL.
> de Imale > > > >> > > > > > > > >> > > > .
Baque R RLImal R

 & .. Baque> > > > > > > > > > > > > > > > > > ..
R LR L R LR L R R LR R LR L R LR L R LR L R R LR R LR L

& .. R>>Baque L R deLImale

>>R#1>L >R >L >R >>R >L R> >R> L> R> L> R>>L R >L >>R L> R> L> R> R>> L>R>R>>L>R>L>..
de Imale #1
>
#2

@ deRLRL @ @ @
& .. >. > > > > > > > > >. > > > > > > > > ..
Baque
RLRL de Imale RRLR RLRL
Baque Imal variation #1

 R@. L RLLR RL LR RL LR RR RL RL RRRL R RL @R.R L RL LR RL RL LR LRR LRRL RR RL RRL ..

& .. Baque
Baque de Imale #1
> de>Imale> #1 > > > > > > > > > > > > > > >
R
R@
.
. >. Coroado
& Leo L> R> L R> L R> R> L R> R> L R> L R@>. L> R> L R> L R> R> L R > R> L R> L ..
>
@ >Imale> #2variation
> #2> > @> > > > > >
& ... R>. L >RL>R L>RR>L>R >RL>R L> R .> L R> L> R L> R R> L> R >R >L R >L .. .
Baque Baquede de Imal

& .. RBaque > > > > > > >@ R> LRLRL @ .. .
 & . RLRL > RLRL de >Imale >RRLR > RLRL
R> L>RLRL
> >RRLR
RLRL
> >
L RLRL RRLR#2RLRL R L RLRL RRLR RLRL
RLRL RLRL RLRL RLRL RLRL @RLRL RLRL RLRL RLRL RLRL RLRL RLRL RLRL
& .. R>Baque R deL>ImaleR> #2L R> L R> R> L R> R> R> R> L R L> R> L R> L >R>RL >R >R @>R ..
RLRL
L
.. R>> Lde>de RdeL > R> L R>>L R>>R>>L R>>R>> R@ > R>>L>R L>>R >>L R >>L R>>R>>L R >>R >>R@ > ..
&Baque Coroado> >
Baque BaqueMartelo Imale #2
Martelo

L R L> R
@ @
... R> Coroado
& Leo > L R> L R >R LR R>@ R R>L R L>R>L R>L R R>LRR@> R ...
Leo

 &
& .. RLRL > RLRL > RRLR
> >R R RLRL > RLRL RRLR
> R R RLRL > RLRL
> RRLR> >R R RLRL > RLRL
RRLR
> R R ..
.
& . RLRL > RLRL
..
> RLRL> RLRL > RLRL > RLRL > RLRL RLRL > RLRL RLRL > RLRL > RLRL> RLRL > RLRL > RLRL RLRL
R R LR R LR L R R LR R R R LR R LR L R R LR R
Leo Coroado

. RLRL
Leo
Coroado
RLRL
> RLRL RLRL > RLRL > RLRL RLRL> RLRL RLRL
RLRL
> RLRL RLRL> RLRL > RLRL
RLRL
> RLRL
.
 NBSBDBUV

BMGBJB
In this section we!ll take a look at some of the different Baques (beats)
used in maracatu. It!s important to note that the names of these Baques
come from the traditional group from Recife, Maracatu Nao Estrela
Brilhante unless otherwiseBaques
noted. Each fornao
Alfaia (nation/group) has different
As played by Maracatu Nao Estrela Brilhante By: Scott Kettner
names for each baque and Baques for Alfaia
play different variations of these rhythms.
Baques for Alfaia
As played by Maracatu Nao Estrela Brilhante By: Scott Kettner
Pay close attention to the Baques
sticking
As played forNao
patterns
by Maracatu Alfaia
and Brilhante
Estrela accents. This is very
By: Scott Kettner
important to the feel and AsBaques
swing
played forNao
of these
by Maracatu Alfaia
rhythms. The strong
Estrela Brilhante By: Scotthand
Kettner

> > large

> wooden
>As played >by > while
> > Brilhante
> stick
> is held> >the.
Baqueholds
de Marcao
4 .
always a Maracatu
mallet NaoaEstrela
smaller By: ScottinKettner

&4 . . . >. >. .

> >. >. > >. >.
.. >> dedeMarcao
> > >
1 weak
Baquehand,
de therefore
Marcao further emphasizing the accents in each baque.
1 &4 > > > ..
4 . LR> . R> > >
LR . LR .
>R > >
L R . LR .
>R L R . LR . ..
Baque
4 .. de> de >. >. >
& 4 >>. >>. > > . > . > > . > . .
Baque Marcao
1 &4 4 ... >R
1 Baque R Marcao
L R

L > > . >R

R . L R R . L R . >R L >R. L >R . >R L>R. L >R. ..
Baque Marcao
1 &4 4 . R
 L R . L R . R R . L R . L R. L R . R LR. L R. .
L
L R

.. > R de>Imal > L>R >R > LL RR> LL RR> >RR > LL RR> LL RR> >RR >LL RR > LL RR> .
Baque R de Imal
LR LR R

& Baque > de Imal >. >. > > >. >. > > >. >. > > >. >. .
LR
>
2 Baque
.. de de > > > ..
.. R>> Lde
& Baque >Imal
Imal
RImal
> >
> L R>.. LR>..
> L R> L R>. LR> . > L R> L R>. LR>. >
> L R> LR> .. LR> .. ...
Baque
R> > > > R> > > >
2
& Baque . >R L R> L R>.. L >R .. >R L R> L >R.. L >R..
& . R L R L R> . L R> .
. > > >R L >R L>R. L>R. ..
2 R

 2
2
. R L R L R . L R .
& Baque R L R L R. L R . L R L R. L R. R L R LR. LR. .
R> >L R> L R> >L > R> >L R> L R> >L > R > >L R > L R> >L > R > >L R> L R> >L >
de Martelo R

.
. R LdeRMartelo R L R L R L R ..
R
& Baque
R R R
3

> >deMartelo
> > >>
LR LR
> > > > >>
R L R LR LR
> > > > >>
R L R LR LR
> > > > >>
.. >de > > > R>L R> LR> R> L> ...
& Baque > LR>>R>>L>> > R>L R> LR> R>L> > R>L R> LR> R> L>
Baque
L R> L R LR
Baque Martelo

&& .. .. >> >>de Martelo > >> >> >> >> >> >> >> >> >> >> >> > > > > > > ..
3 Baque de Martelo
 3
3
L
> > >>
R R L R

& .. LL RRRRLL RR LL RR RR LL
L>R R> L >R L>R >R>L ...
3
L R R L R L R R L LLRR RR LL RR LL RR RR LL
> >RR LL>RRRR LL> >LRR RR LL>RR LL>RR RR LL> >LL RR RR LL>RR LL>RR RR LL> >L RR RR LL>RR LL>RR RR LL> .
Baque LRRL R LRR L LRRL R LRR L
L R RdeL Arrasto
.
.
& > >.Arrasto >. >. > >. >. >. > >. >. >. > >. >. >. .
Baque L R
de R L
Arrasto L L
4 Baque de
.. > de> Arrasto ..
 4 & Baque . LR>>. LR>>.
R LR>Arrasto
Baque de Arrasto

&& .. .. >> de
Baque
>R> LR>>. LR>>. L R>>. >R> LR>>. LR>> . LR>>. >> LR>>. LR>>. LR>>. ...
> . >.. >..
. > >.. >.. >.. > >.. > .. >.. > >.. >.. >.. ..
4 R

& .. R L R . L R . L R . R LR. LR. LR. .

4
4
R LR LR LR
R L R. L R. LR.
R LR LR LR
R L R. L R . L R.
R LR LR LR R LR LR LR
R dede
Baque LParada
RParada
LR L #2R R LR LR LR

.. > de Parada > > #2> R >L R > L R> L R >R >L R > L >R > >L R> >>R > >L >R> L>R L R
Baque R LR LR LR R LR LR LR

>. >. #2> >. >. > >. >. >. > >> >>> >> >> >
R LR LR LR

 5 & Baque
Baque
> deParada
.. > de Parada
& Baque R> >>. LR>>. #2R>> LR>> . LR>> . R>> LR>> . LR>> . R>> . R>>L>>R>> R>>L>>>R> R>>L>> R>>L>> R>>
LR
Baque de Parada #2
.
&& . .. > >.. >.. > >.. >.. > > .. > .. > .. > >> > >> >> >> >
5

& >.. R > >>L R>.>L>R .> >R > > >L R. L R. R > L>R>. >L R>. >>R. >R>LR> >R LR>R L R>L >R > >>
55

& R.R LLRR LLRR RR LLRR LL RR RR . LLRR LL RR RR RR LL RR RR LL RRRR LL RRLL RR ..

5

 > > >> > >> > > > > > > > >> > >> > > > > > > R> > >> .
& >R>R. R>>L>>R>>LRR>>L>>LR>>RR>>L>>R R>>L>> RL>>R L R R R> . RL>RL>R>L RR>L>RR> RR>L>L RR>L>R LRRRR> LL RR >LL
> > >>> .
R> R>L R>L
&& >. . >>> >>> >> >> > > . > > > > >> >> >> > > > > >>.....

& R . R LR RL R RL R L R 2008 Scott R. Kettner
R LR R L R R L R L R R L R LR R L R L.
Agog/Gongu

NBSBDBUV

TDPSF
[Title]
[Composer]
Baque de Marcao

2 4 2
4 ! 4 ! x x 4

Agog/
Gongu y y
2 4 2
Ab 4 ! 4 ! x x 4
> > > > > >> > > >
42
j j
z 44 j j j j 42
3 3 3 3

Caixa

2 4 > > 2
Alfaia 4 ! 4 ! 4

42 44 y y y y y
! ! .. x x x x
" y. y y " y. y y
J J

42 ! 44 ! .. x x x x x x x x x x x x
>> > > >> > > > > >> > > >> > > > > > > > > > >
2
4
44 ..
2 >
2 4 . > .
44 > > [Title]
> > > > > .. > > . > .

y y y y y y y y y y y y y y y
x! y . xy y x! y . xy y x! y . xy y x! y . xy y x! y . xy y x! y . xy y ..
J J J J J J
x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x ..
> > > > > > > > > > > > > > > > > > > >> > > > > > > > > > >
..

>
> > . > .
>
> . > . > > > > > > ..
 NBSBDBUV

GPS

ESVN

TFU
Here!s a few ideas for orchestrating some of the maracatu rhythms on the
drum set. Start of simple by applying the alfaia to the bass drum and the
caixa parts to the snare drum. Then you can begin adding the gongu
pattern on the hi hat. After you feel comfortable with this, stretch out a little
and play the agogo bell pattern on the ride cymbal while keeping the alfaia
Maracatu for Drum Set
and gongu patterns in the feet. This frees up your right hand to play
By Scott more
Kettner
freely on the snare drum and/or the toms.

>> >> > >> >> > >> >> > >> >> >
4
4 . ..
.

rum Set

>> >> > >> >> > >> >> > >> >> >
 . x x x x x x x x x x x x ..
.

>> >> > >> >> > >> >> > >> >> >
. @ @ ..
 . x x x x x x x x x x x x

x 1 x 1 x 1 1 x 1 1 1 1 1 1
 .. x x x x ..

x 1 x 1 x 1 1 x 1 1 1 1 1 1
 .. x x x x x x x x x x ..
x x x x x x

x 1 x 1 x 1 1 x 1 x 1 x 1 x 1 1 x 1 .
 .. x x x x x x x x x x x x .

x 1 x 1 x 1 1 x 1 1 1 1 1 1
 .. x x x x x x x x x x ..
x x x x x x

@ 1 1 1 1 1 @ 1 1 1 1 1
 GPSS



CBJP
It!s impossible to describe the cultural and musical origins of Forr and
Baio in this short sampler booklet but I will do my best to summarize
these styles as best I can with the limited space.

Forr and Baio are two closely related rhythms that are very popular in
the northeast of Brazil, mostly in the state of Pernambuco. Forr is
known as a dance, a rhythm, a party and the actual genre which acts as
the umbrella for other rhythms such as Baio, Xot, Xaxado and Arrasta
P. It is believed that this music was influenced by European dance
music such as the Polka, Mazurka, Schottische and Quadrille as well as
Embolada and Coco rhythms and song styles which root from the
African ancestors who settled in the northeastern region of Brazil. Forr
music is celebrated during the Festa Juninha (June Festival), a part of
Brazilian culture which celebrates some of the Catholic saints during a
festival known as So Joo.

There are subtle rhythmic and syncopated differences between Baio

and Forr but the most important and definitive difference is the open-
closed pattern played on the top half of the zabumba, a double headed
bass drum played with a mallet on the top side and a small switch on
the bottom side, similar to a tapan drum. Examples are on the next
page..

The instrumentation of a traditional forr band normally include any of

the following instruments in any combination:
zabumba, cane flute, accordion, fiddle, triangle, pandeiro, agogo,
shaker and singers.

Over the past 10 years that I!ve been studying this music I!ve noticed a
lot of strong rhythmic and cultural similarities between Forr and
Zydeco, Cajun, New Orleans Second Line and African American Drum
and Fife music. The following pages will explore Forr music in it!s
traditional context and then we!ll orchestrate these rhythms on the drum
set. From there I!ll present a few ways of combining Forr and New
Orleans rhythms together to give you some ideas for integrating a fresh
approach to applying these rhythms to the drum set.
 2
4 .. .
Zabumba o o ..
o o = open
Baio
.
2 = open
4 .. note
x = switch . with leftnote
stick side
o onwith
with mallet on top mallet on . top sideo ..
x = switch stick withj left hand on bottom sidej
hand bottom side

.
Zabumba
.
CBJP
x
j
x
j ..
4 ... .
2 o x .. o o x ..
o
 .. . 2 o . . o ..
4 . . j j x j j
...
j .o o
x
.. .. . x o o
x x x x ..j
x x o x
2 .. o [Title] o
..

.. ..
x
o
xx
j
x
o x
j x
j
x ..
..
.. oo . x o .
.

o x o
 ..
. oo . o o . ..
x x
.. . x o x o . o x o x ..
.
.Triangle o ..
x x o x o j x o .
19 .. x .. x1 x x xx 1 xo x x 1 x x x 1x x x 1 x x x 1 x x x 1 x x x 1 x .
xx o o ..
x .. x
o x
..
. x o x ox
x
. o x x o x .
o x x o x x .
x
..
 .. .. xx oo xx x
xGPSS


x x o
x x ..
..
Forr
o o
. x x x x x x x
. o o x x x x o ..
 .. ..oo xx .. .xx

Forr
x x x x ..
o .. o .
Forr
x x x
o o
o o o o o
. x x x x x x ..
.
15

 15
 .. ..oo o xx xx x x o ox x x x x x . o
o . ..
15

o o
o o
o
x ..
xx x x
x x x
x o o o x x o x .. o
.
 17 ..o xx
. ..
17
17
x x x x
 .. o o o o o ..
o o o
 GPSS



CBJP
Forr & Baio for Drum Set
Drum Set
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TFU
> >
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4 .. x x ..
 x x

> >
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. ..
x x x x

> >
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x x x x

x x x x x x x x x x x x .
..
HH

 .

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. x fx x x fx x x fx x x fx x ..
 .

HH x x x x x x x x x x x x
 .. f f f f f f ..

HH x
.. fx x fx fx x x f fx x fx fx x ..



 3FDJGF

NFFUT

OFX
PSMFBOT
.yy y y y y y y y y yy y y y y y y y y .
5
. y y y y y y y y y y
Recife and New Orleans share a lot in common musically, culturally and y y .
historically. Both cities were major slave ports that brought a diversity of
people from Africa whom after many hard years found a way to blend their
musical heritage with the Indigenous tribes and the European settlers.
This unfortunate event created unique musical and cultural hybrids in both
y yy yy y yy yy y yy yy y yy yy .
.. y Maracatu y y y .
Recife and New Orleans that still remain the foundation of the music in

y y y +y NOLA
y y Bell
6 both cities today. Below are a few examples of blending New Orleans bell
y yPatterns
patterns with Maracatu and Forr rhythms. These are just a few examples
2so don!t limit yourself to these and keep exploring more options and
[Title] By: Scott
1connections
Bar Phrases with other styles of music from around the world.

.... y y y yy yy y yy y yy y y y y y yy yy y yy y yy y y ....
1 1 1 1 NBSBDBUV

DBJYB
1 1 1 1 1 1 1 1

44 .. y y y y y y y y y y y y ..
7
1y 1 y1 1y 1 1y 1 1y 1 y 1 1 y 1 1y 1 y 1 1 y 1 1 y 1 y1
 1

... 1 1y 1 y 1 1y
1 y1 1 y 1 1y 1 1y 1y1 1y 1 y1 1 y 1 1y ....
1 11 11 11 11 1 1 11 11 11 11 1
28 . y y y yy yy y yy y yy yy y y y yy yy y yy y yy yy
.. y y y y y y y y y y y y ..
Forr 1For1 Drum
Drum Set
. 1 1 1 1 1Forr
1 1 1 For
. y y y y y y y y y By:
1 1 1 1Set 1 1 1By:
By:1Scott 1.
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y y y .
Scott Kettner
 Scott Kettner

. y y y y y yy yy y y y y y yy yy .
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y yx x y yx yx y x y xy .
2 .. x x
x x x x
x x x x x x x x ...
 424 .. ! ! .
um Set
m Set

yy y yy yy yy y yy y yy yy yy y
4
.xxy xx y yxx y xx y xx y xyx yxx xyx y xx xyx y ....
.
.
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3

..
3

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3

. y xy xy y y x y y y xy xy y y x y xy y x y yx y yx y .
.
...xy x y y x
. y x y x y y x xy y x xy xy y .....
5
5

 5 5

4DPUU

,FUUOFS
When Scott Kettner looks at a map, he sees a direct line that
connects the rivers of northeastern Brazil to the parishes of New
Orleans and the streets of Brooklyn. A master percussionist,
bandleader, producer and songwriter, Kettner is the guiding force
behind Nation Beat, a band whose teeming, vibrant rhythms find
common ground in the primal maracatu rhythms of Brazil!s
northeastern region, the Big Easy!s funky, hypnotic second-line and
strolling Mardi Gras Indians, and the unfettered freedom of big-city
downtown jazz.

No less an icon than Willie Nelson, who invited Nation Beat to

perform at his 2008 Farm Aid concert, proclaimed, After I heard
their CD I became a fan and I was overwhelmed by their music.
Equally enthusiastic was writer David R. Adler of Philadelphia
Online, who described Nation Beat as a pan-hemispheric, post-
colonial party; a rootsy rhythm riot, conceived in bright colors and
infectious melodies.

"DLOPXMFEHFNFOUT
Aaron Shafer-Hass: Assistance with maracatu transcriptions.
Billy Hart: For introducing the maracatu rhythm to me.

A very special thanks to Jorge Martins, Dona Marivalda, Mestre

Walter and the entire community of Maracatu Nao Estrela
Brilhante for opening their music and culture to me.

www.scottkettner.com