Pandeiro
A frame drum with jingles played by hand; the 'complete drum kit' of samba and choro.
What you are hearing: the instruments that give each Brazilian genre its identity and, at the end, the instruments played worldwide that Brazilian music made its own.
A frame drum with jingles played by hand; the 'complete drum kit' of samba and choro.
A small drum struck with a multi-rod stick; it plays the rhythmic figures of the samba schools.
The deep bass drum that marks samba's second beat; the heart of the bateria.
A friction drum with an inner rod that 'cries' and 'laughs'; samba's unmistakable sound.
Two or more metal bells of different pitches, of Yoruba origin.
A high-pitched drum that calls the bateria; in pagode it is played by hand.
A deep hand drum created in Fundo de Quintal's pagode to replace the surdo.
A shallow bass drum played with a mallet and a thin stick; the base of the forró trio.
The third member of the forró trio, marking the high-pitched time.
A rope-tuned wooden drum of maracatu, played with thick sticks; it electrified manguebeat.
A light, high-pitched conical drum popularized by Carlinhos Brown and Timbalada.
The Afro-Brazilian drum of candomblé, capoeira and the afro blocos.
Metal or gourd shakers that fill out samba and coco.
A spring or bamboo scraper found in samba and afoxé.
A hollowed-log drum that gives Pará's carimbó its name.
Wooden clappers and giant frame drums of Maranhão's bumba-meu-boi.
A plate scraped with a knife, keeping the rhythm of samba de roda.
The snare drum of the samba school batería.
A woven-straw shaker filled with seeds, accompanying the berimbau in capoeira.
A gourd wrapped in a net of beads, shaken or twisted in the hands.
A large bead-covered gourd of Yoruba origin.
A gourd rattle used in the rituals of many Indigenous peoples.
The three drums (grande, meião and crivador) of the tambor de crioula dance in Maranhão.
A small four-steel-string instrument, cousin of the ukulele; it plays the rhythmic harmony of samba and choro.
A guitar with an extra low string for the bass runs of choro and samba.
Ten strings in five courses, a Portuguese inheritance; the voice of caipira music and repente.
Choro's soloist since Jacob do Bandolim; Hamilton de Holanda plays the ten-string version.
A long-neck electric cavaquinho invented by Dodô & Osmar for the trio elétrico.
An African-origin musical bow with a gourd resonator; it leads the capoeira circle and entered jazz with Naná Vasconcelos.
A rustic northeastern fiddle used in forró and rural maracatu.
A viola carved from a single piece of wood, accompanying siriri and cururu in Mato Grosso.
The small viola of the samba de roda of Bahia's Recôncavo.
A banjo with a cavaquinho neck and tuning, popularized in Fundo de Quintal's pagode.
A bamboo flute of the pífano bands of the rural Northeast.
The three-tone whistle of the bateria master commands the samba school.
A horn made of ox horns, blown by drovers to lead the herd; it echoes in sertanejo songs and at rodeos.
Luiz Gonzaga's instrument; in the South, the button 'gaita-ponto' leads the vanerão.
Instruments played all over the world that took on a Brazilian accent.
The most played instrument in the country; the base of samba, bossa nova, MPB and sertanejo, from João Gilberto and Baden Powell to Yamandu Costa.
Arrived with Jovem Guarda and Tropicália and became the voice of rock and of Pará's guitarrada.
From Luizão Maia's swing with Elis Regina to Champignon's slap in Charlie Brown Jr.
The foundation of samba-jazz and of bossa nova trios.
Found in orchestras, in romantic sertanejo arrangements and in northeastern armorial music.
Luciano Perrone and Edison Machado adapted samba to the kit; from samba-jazz to Sepultura's metal.
From Tom Jobim's and Johnny Alf's piano to the keyboard of electronic forró and piseiro.
Defined 1980s pop-rock and underpins funk, tecnobrega and electronic music.
Pixinguinha moved to tenor sax in the 1940s; heard in choro, gafieira and Banda Black Rio's soul.
Choro's soloist since the 19th century, from Pixinguinha to Altamiro Carrilho.
A voice of choro and of frevo orchestras; Abel Ferreira and Paulo Moura.
The brass of frevo, gafieira, axé and electronic forró.
Raul de Souza took the Brazilian trombone into jazz; essential in frevo and gafieira.
The harmonica of blues and rock; Rildo Hora brought it into samba.