Baden Powell's Tamborim Groove

Bibliographic Details
Main Author: Corrêa, Lucas Martins
Publication Date: 2025
Other Authors: Mantovani Junior, Luiz Carlos
Format: Article
Language: por
Source: Orfeu (Florianópolis)
Download full: https://periodicos.udesc.br/index.php/orfeu/article/view/26925
Summary: This article examines one of Baden Powell’s most recurring groove patterns (levada), which is nicknamed “levada-tamborim” due to its resemblance to the tamborim’s samba practice. After revisiting the definition of groove as a circular pattern of repetition and variation, understanding how guitar grooves imitate percussion instruments, and observing tamborim practice in samba, we draw a parallel between the levada-tamborim and the idea of a time-line that permeates most of Afro-Brazilian music. Once the theoretical premises are defined, we approach this groove type by examining five examples taken from recordings and videos by Baden and Marcel Powell. Our analysis reveals many ways of realizing the levada-tamborim, which, nonetheless, understand the guitarist’s right-hand action as integrated by two complementary groups whose action mirrors the non-stop rhythm of the samba groove played by the tamborim.
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spelling Baden Powell's Tamborim GrooveA Levada-Tamborim de Baden PowellBaden Powelllevadatamborimsambalinha-guiaBaden Powelllevadatamborimsambatime-lineThis article examines one of Baden Powell’s most recurring groove patterns (levada), which is nicknamed “levada-tamborim” due to its resemblance to the tamborim’s samba practice. After revisiting the definition of groove as a circular pattern of repetition and variation, understanding how guitar grooves imitate percussion instruments, and observing tamborim practice in samba, we draw a parallel between the levada-tamborim and the idea of a time-line that permeates most of Afro-Brazilian music. Once the theoretical premises are defined, we approach this groove type by examining five examples taken from recordings and videos by Baden and Marcel Powell. Our analysis reveals many ways of realizing the levada-tamborim, which, nonetheless, understand the guitarist’s right-hand action as integrated by two complementary groups whose action mirrors the non-stop rhythm of the samba groove played by the tamborim.Este artigo examina uma das levadas mais recorrentes de Baden Powell, que, pela semelhança com a prática do tamborim no samba, é aqui apelidada de “levada-tamborim”. Após revisitar a definição de levada como padrão circular de repetição e variação, e compreender como as levadas de violão imitam os instrumentos de percussão, observamos a prática do tamborim no samba e como ela incorpora o conceito de linha-guia que permeia a maior parte da música de origem afro-brasileira. Para tanto, apoiamo-nos em referenciais teóricos e práticos, englobando tanto o universo do violão como o de outros instrumentos e conjuntos. Uma vez estabelecida a fundamentação teórica, abordamos a levada-tamborim a partir da análise detalhada de cinco exemplos selecionados, retirados de gravações e vídeos de Baden e Marcel Powell. Nossa análise revelou diversas maneiras de se realizar a levada-tamborim, que, no entanto, compartilham o procedimento de pensar a ação da mão direita do/a violonista em dois grupos complementares, trabalhando de maneira a espelhar o ritmo ininterrupto da levada de samba do tamborim.Universidade do Estado de Santa Catarina2025-05-24info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.udesc.br/index.php/orfeu/article/view/2692510.5965/2525530410012025e0101Orfeu; Vol. 10 No. 1 (2025): Special Issue: Music in Motion - Sound Projections; e0101Orfeu; Vol. 10 Núm. 1 (2025): Dossier Música en Movimiento - Proyecciones Sonoras; e0101Orfeu; v. 10 n. 1 (2025): Dossiê Música em Movimento - Projeções Sonoras; e01012525-530410.5965/2525530410012025reponame:Orfeu (Florianópolis)instname:Universidade do Estado de Santa Catarina (UDESC)instacron:UDESCporhttps://periodicos.udesc.br/index.php/orfeu/article/view/26925/18598Copyright (c) 2025 Lucas Martins Corrêa, Luiz Carlos Mantovani Juniorinfo:eu-repo/semantics/openAccessCorrêa, Lucas MartinsMantovani Junior, Luiz Carlos2025-08-26T19:04:04Zoai::article/26925Revistahttps://periodicos.udesc.br/index.php/orfeu/PUBhttps://periodicos.udesc.br/index.php/orfeu/oaiorfeu.ceart@udesc.br | orfeu.ceart@udesc.brhttps://doi.org/10.5965/252553042525-53042525-5304opendoar:2025-08-26T19:04:04Orfeu (Florianópolis) - Universidade do Estado de Santa Catarina (UDESC)false
dc.title.none.fl_str_mv Baden Powell's Tamborim Groove
A Levada-Tamborim de Baden Powell
title Baden Powell's Tamborim Groove
spellingShingle Baden Powell's Tamborim Groove
Corrêa, Lucas Martins
Baden Powell
levada
tamborim
samba
linha-guia
Baden Powell
levada
tamborim
samba
time-line
title_short Baden Powell's Tamborim Groove
title_full Baden Powell's Tamborim Groove
title_fullStr Baden Powell's Tamborim Groove
title_full_unstemmed Baden Powell's Tamborim Groove
title_sort Baden Powell's Tamborim Groove
author Corrêa, Lucas Martins
author_facet Corrêa, Lucas Martins
Mantovani Junior, Luiz Carlos
author_role author
author2 Mantovani Junior, Luiz Carlos
author2_role author
dc.contributor.author.fl_str_mv Corrêa, Lucas Martins
Mantovani Junior, Luiz Carlos
dc.subject.por.fl_str_mv Baden Powell
levada
tamborim
samba
linha-guia
Baden Powell
levada
tamborim
samba
time-line
topic Baden Powell
levada
tamborim
samba
linha-guia
Baden Powell
levada
tamborim
samba
time-line
description This article examines one of Baden Powell’s most recurring groove patterns (levada), which is nicknamed “levada-tamborim” due to its resemblance to the tamborim’s samba practice. After revisiting the definition of groove as a circular pattern of repetition and variation, understanding how guitar grooves imitate percussion instruments, and observing tamborim practice in samba, we draw a parallel between the levada-tamborim and the idea of a time-line that permeates most of Afro-Brazilian music. Once the theoretical premises are defined, we approach this groove type by examining five examples taken from recordings and videos by Baden and Marcel Powell. Our analysis reveals many ways of realizing the levada-tamborim, which, nonetheless, understand the guitarist’s right-hand action as integrated by two complementary groups whose action mirrors the non-stop rhythm of the samba groove played by the tamborim.
publishDate 2025
dc.date.none.fl_str_mv 2025-05-24
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.udesc.br/index.php/orfeu/article/view/26925
10.5965/2525530410012025e0101
url https://periodicos.udesc.br/index.php/orfeu/article/view/26925
identifier_str_mv 10.5965/2525530410012025e0101
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.udesc.br/index.php/orfeu/article/view/26925/18598
dc.rights.driver.fl_str_mv Copyright (c) 2025 Lucas Martins Corrêa, Luiz Carlos Mantovani Junior
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2025 Lucas Martins Corrêa, Luiz Carlos Mantovani Junior
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade do Estado de Santa Catarina
publisher.none.fl_str_mv Universidade do Estado de Santa Catarina
dc.source.none.fl_str_mv Orfeu; Vol. 10 No. 1 (2025): Special Issue: Music in Motion - Sound Projections; e0101
Orfeu; Vol. 10 Núm. 1 (2025): Dossier Música en Movimiento - Proyecciones Sonoras; e0101
Orfeu; v. 10 n. 1 (2025): Dossiê Música em Movimento - Projeções Sonoras; e0101
2525-5304
10.5965/2525530410012025
reponame:Orfeu (Florianópolis)
instname:Universidade do Estado de Santa Catarina (UDESC)
instacron:UDESC
instname_str Universidade do Estado de Santa Catarina (UDESC)
instacron_str UDESC
institution UDESC
reponame_str Orfeu (Florianópolis)
collection Orfeu (Florianópolis)
repository.name.fl_str_mv Orfeu (Florianópolis) - Universidade do Estado de Santa Catarina (UDESC)
repository.mail.fl_str_mv orfeu.ceart@udesc.br | orfeu.ceart@udesc.br
_version_ 1842260671764365312

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