Ritmos brasileiros do Nordeste: a linguagem utilizada pelo contrabaixo elétrico

Abstract

This research has as its theme the language used by the electric double bass in some genres within the context of northeastern music. The general objective is to present in a systematized way a material that demonstrates how the bass line can be executed, presenting some possibilities of variations. At first, in order to enable the development of a theoretically based look, a research of materials on the electric double bass was carried out, involving its history, how it was inserted in Brazilian music and the fundamentals contained in the development of a double bass line. It was also necessary to understand and bring to this work a historical contextualization of northeastern music, the origin of rhythms and the conduction patterns performed by the electric double bass. Thus, the theoretical foundation is established in Carvalho (2006) on the electric double bass and its fundamental concepts; Adriano Giffoni (1997) with proposals for conductions for the electric bass in Brazilian music; Sonia Ray (2015) on the pedagogy of musical performance and the double bass in the academic context; Gil (2007) and Fonseca (2002) on scientific research methods. The research was structured with the help of narratives and semi-structured interviews with instrumentalists who have extensive experience in the musical field. The practical part of this work was developed from a basic bass line that was made available by the author of this research to the participating double bassists, who in turn were able to develop their musical ideas within each suggested rhythmic context. The collaborating instrumentalists who participated in the research have varied professional profiles, some are teachers, have academic training, others work at night, but do not have academic training. Through the material collected, it was possible to structure a cataloguing, with the suggestions of the participants that may be useful to all bassists who wish to act in Brazilian music from the musical genres worked here. I also make it clear that the lines of conduction of the double bass developed by the participants of this research in the scope of xote, maracatu, baião and frevo, are ideas that can be used by the musician in the practice of the day-to-day in his daily studies and presentations. However, they can serve as a starting point and inspiration for the creation of new lines, which can enrich, energize and even innovate the use of the double bass in the genres exposed here. It is hoped that this research can contribute to the understanding of the language used by the electric double bass in the context of northeastern music, as well as to observe how different bassists think about this music and how it is possible to develop variations.