 Hello everyone. My name is Eduardo Mendoza. I'm from Brazil. Yes, this big country on South Asia, right? Of course not. It's this largest country in the South America. Yes, my first language is Portuguese. Brazil is the only country in the South America that speaks Portuguese. I'm very happy with that. It makes me a little bit unique at that point. Today I'm going to be working with you. I'm going to be sharing a little bit about the street rhythm of my country. The rhythm I'm going to be learning today is called the Samba Reggae. Samba, the most popular Brazilian rhythm. And the reggae that's not Brazilian rhythm. Where is the reggae from? Oh, yeah. If you say Jamaica, it's great. If you did not say that, it's pretty close. Now you all know it's Jamaica, right? And one of the most popular Jamaican singers and composers is Bob Marley. There's a few songs that you know from Bob Marley like No Woman, No Cry. That's a reggae. There's another one too like that. Don't worry about a thing because every little thing is going to be alright. So this rhythm is starting in Brazil in the late 70s and the early 80s. What a group of young people, they get together on the street and say, yeah, let's create something new. And yes, they did it. They blend together some elements of samba and they put together some elements of the reggae music. And they created this new rhythm called the Samba Reggae. Okay? There's a few ways to play the Samba Reggae. I'm going to be sharing one of them today. And for drums, guess what? You're going to be using cookingware, cooking pots. That's going to be our drums for today. It's very easy to find, right? And I'm going to be using that as my drums, you see? And I'm going to be also putting together here a paper towel on top of them just to muffle a little bit the sound. Otherwise, you could have something like this. If I can muffle a little bit with a paper towel, it could be like a piece of fabric. It could be maybe like a t-shirt or anything that you want to muffle a little bit the sound. You see the difference? Just a little bit. Yeah. And right now, we're going to be also doing the same thing for another one. I'm going to actually do very well. Just put it on top. And here, another one. Here you go. So I'm going to be calling my drums by numbers. This one here on my left, that's going to be on your right because you're going to be my mirror, right? My left is going to be your right. And here, we're going to be my right, will be your left. So I'm going to be calling this one here, number one. I'm going to be here, this one here, number two. And the little one here in the center, number three. So the number one and number two, we're going to play the quarter notes when I count. And one, two, one, two, one, two. You can actually move from your right and left, right and left. That makes you more connected with the rhythm. For the pseudo number three, we're going to do a different part like that. If I sing the rhythm, it goes like that. Pum, pa, pum, pa, pa, pum, pum, pa, pum, pa, pum, pa, pa, pum, pum, pa, pa, pum, pum, pa, pum, pum, pum, pum. Yes, okay, pretty good. So now you see the number three. Sometimes play the eight notes and sometimes it goes on 60 notes, right? And now if you observe, the number three is played very often with one of these drums. Number one or number two. Take a look and let me know which one you think is playing more often. The number three plays more often with the number one or number two. Ready? Here you go. Which number? Yes, if you say the number two is correct. If you did not say the number two, that's fine. You can make mistakes, that's fine. But yes, we play together more often with the number two. Okay, now for the samba reggae. Let's working in the call. Brazilian rhythm, there's a lot of call and response. And our intro will be something like that. My little drums here on my table are going to do something like that. Pa, pa, para, para, para. Let's say again. Pa, pa, para, para, para. Let me sing the rhythm. Pa, pa, para, para, para. Say it again. Pa, pa, para, para, para. One more time. Pa, pa, para, para, para. One more time and I say go and they do together with me, okay? Go, pa, pa, para, para, para. Beautiful. One more time, we just make sure. Pa, pa, para, para, para. Yes, okay? And the Brazilian music and Brazilian popular music, Brazilian street music, everything is more passed orderly. So people is not like too connected. Who is the one? Who is the two? Who is the offbeat? Nothing that. But I'm going to give you some, just a little tips about how you can connect that with the music. And then if you count, it's a two-four. One, two, one, two. When it starts to, the call is going to be the offbeat. Pa, pa, para, para, para. Here you go, let's count again. One, two, one, go. Pa, pa, para, para, para, para. Beautiful. That's the call. Okay, let's do it again. One, two, one, go. Pa, pa, para, para, para. Yes, okay? Now I'm going to count and you do yourself. Here you go. One, two, one, go. Oh yes, okay? Now the response. For the response, both drums. You have like two hands of course, but you can't do with the one or two. Or one and three, or two and three, whatever drum you pick will be fine. Because the response is going to be hit twice. Ta, ta, okay? Like that. Let me play for you. One, two, one, go. Pa, pa, para, para, para. You see? I made a mistake. Let me do it again because I have to sing the call and they respond by hitting the drums twice. Go. Yes, okay? I can choose this one for example. Pa, pa, para, para, para. Yes. And then let's now do the call and the response. Together. One, two, one, and pa, pa, para, para. Pa, pa, para, para. Pa, pa, para, para. Yes. Okay, now let's start the rhythm. Okay, when I say and I'm going to be hit the one and two and then the number three we start right after two and the offbeat. Okay, like that. Pa-pa-pra-ca-ta-pum-pum. Pa-pa-pra-ca-ta-pum-pum. Pa-pa-pra-ca-ta-pum-pum. Pa-pa-pra-ca-ta-pum-pum. And, one. Yes, you see? It's a lot of fun, right? I think it's fun. And now, let's talk about the outro. The outro will be the same thing I did at the beginning. Pa-pa-pra-ca-ta-pum-pum. That's gonna be our outro, okay? Here we go. The only difference is, right in the beginning, nobody's playing because they say pa-pa-pra-ca-ta-pum-pum, right? Pa-pa-pra-ca-ta-pum-pum. However, for the outro, we're gonna be actually playing through, like this, right? When you hear the call, you don't stop. Wait for me. Pa-pa-para-pa-pa. Got that? Yes. Now, let's do everything from top. We're gonna do the intro. We're gonna do the body of the rhythm, and we're gonna do the outro. Ready? Here you go. One, two, one, and pa-pa-pra-ca-ta-pum-pum. Pa-pa-pra-ca-ta-pum-pum-pum-pum. And, one. Pa-pa-pra-ca-ta-pum-pum. Yes, you got everything. So, now to finish, to conclude, let's put something else in here. Also, the intro and outro could be breaks in between. I can do breaks in between. And this time, when I'm gonna do the breaks in between, I'm gonna say something like a solo. If I say solo, and then you can, throughout the break, and then you can create a few things here. Be creative. You can hit the table, you can hit the drums, and then the one. Just use your imagination. Give your wings to your imagination. And they're gonna say, and pa-pa-pra-ca-ta-pum-pum. And they're gonna go back to the rhythm. Okay, let's see. Let's see how that works. Okay, let's do the intro. The rhythm, solo part, like you do your improvisation. And then, back to the rhythm and the outro. Let's see how that works. Pa-pa-pra-ca-ta-pum-pum. Pa-pa-pra-ca-ta-pum-pum. Pa-pa-pra-ca-ta-pum-pum. Pa-pa-pra-ca-ta-pum-pum. And, pra-ca-ta-pum-pum. Pa-pa-pra-ca-ta-pum-pum. Pa-pa-pra-ca-ta-pum-pum. Solo. Pa-pa-pa-pa-ta-ta-pum-pum. Pa-pa-ca-ta-ca-ta-pum-pum. Ta-ka-ta-ta-ka-ta-pum-pum. Ta-ka-ta-ka-ta-pum-pum. Ta-ka-ta-ka-ta-pum-pum. Ta-ka-ta-ka-ta-pum. Your turn. Pa-pa-pra-ca-ta-pum-pum. Pa-pa-pra-ca-ta-pum-pum. You can do your solo. Ta-ta-ta-ta-ta. I'm watching you. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta-ta-ta-ta-ta. Ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta. Wow, I hope you learned something new today, something that you can do some improvisation, you can create something, when you do the breaks in between, you can ask people to come together and they play with you. it's not necessarily I play one two and three or you play one two and three but you can have like a bunch of people only hit the beat one another group of people only hit the beat two you know the people another group of people you can be creative and they see how can break down this rhythm for a group to play so before I go let me ask you to remind me the name of the rhythm that you just learned this Brazilian street rhythm yeah there is a combination of the two rhythm one is a samba from Brazil another one it's reggae from Jamaica thank you so much that was very nice to be here with you and let's say goodbye on my first language in Portuguese okay here you go ciao ciao now let me hear you one two three yes ciao