What I'm considering:
- Making sure there's something new pretty much every night. That way people will keep coming else they'll miss out. Of course that also works the other way - if people don't come then they're holding up progress for the whole group (as is happening now a bit too) so that will need to be managed too.
- Songs, songs, songs. This would be a great way of adding much needed variety. I loved making the arrangements last year, that was a highlight in the 5 years of Primavera. Songs make it much more complex (set up PA, cavaco player, tamborim section, singers), but I feel it's worth it. I definitely can't do this all alone so I will need your help/ideas.
- Maybe have a lesson schedule, published on the blog, with info on what we do each night. Also, maybe dedicated classes (every 4, maybe 6 weeks) for beginners so that I can go through the basics with them. Posting a schedule on the blog hopefully will encourage more people to have a look at it.
- Having an 'advanced' group for certain songs/rhythms. That way the people with 'less talent' (not sure how to put this) won't hold up the more 'advanced' people. Very difficult this one.
- We experimented the last couple of weeks with pagode the first 30 minutes. Personally I am not convinced about this yet but appreciate any feedback.
- The money side of things. I'm considering making payment for classes optional, as in it's expected people that can afford the $8 they pay but if you can't then you don't have to. This of course will only work if there's enough paying people. I don't want people to stay away because they really can't afford it.
- Any other ideas? Please comment on this post. Keep it short & sharp & positive ("Remko, I'm bored" is definitely not encouraging me to think constructively).
Your feedback is very much appreciated. For what it's worth, I have to admit there's a chance that I'll quit with all this if we can't keep it interesting and positive enough... so please make the effort to think and comment about this.
If you want to post comments privately or if you again have lost your password don't hesitate to email me!
Yours in Samba,
Remko
23 comments:
Let me be the first one to make the joke that I'm turning 40 in April and this might be the first sign of my mid-life crisis ;-)
Remko, if you teach me I can learn how to play samba-enredo in the cavaco.
Also, I think that we should have about 3 singers as in the Monobloco. Cedric already knows how to sing some sambas, so he can sing. Erin is also learning how to sing in portuguese. I can help with some backing vocals.
We can start with really easy songs, specially to sing, so everyone can help singing.
I reckon that the benchmark would be Monobloco. They play several popular songs (not just samba) with the percussion. We can try to do that.
Do you know how much it would cost to rent a PA? Maybe we can practice songs twice a month and rent a PA.
On the subject of enhancing the skills I wondered if a system of 'badges' like boy scouts could be invented if a person attains the ability to play a certain riff,on a certain instrument that way it would promote up-skilling in a positive manner and would encourage players to gain more badges. Then when a class plan is published you could have a surdo 2 badge level X session at a certain time and date. Gigs would be classified level 1 and level 2, positions requested and forfilled from a badge point of view. Level 2 is general, level 1 is advanced (say) or vica versa. Persons who have the right instrument and right level get to play. This way it gets around the acusation of personal bias and avoids unpleasentness. Everyone starts at level 2 on their main instrument. Sounds crazy but it may work.
Your time is an issue here, Remko. Do you have the time to conduct different class levels ?
May be the section leader idea that Claire mentioned two weeks ago could be the answer. It fits well with Melanie's idea too. Transparency when it comes to who is best suit to play a certain gigs. No jealousy, bitchiness .
With section leader, beginners receive more attention, know who to ask for help, and leaving you time to deal with "big picture" stuffs like arrangement and look for gigs .
Why reinventing the wheel ? How about asking non-Brazilian Samba Schools how they organize their group ? .... Dutch Samba Schools, what are their experience in these matters ? Marcel can be our invaluable spy !
"Remko, I'm bored"
On a slightly more constructive note:
The Amsterdam samba school I visited a few times had a number of characteristics that overlap with suggestions repeatedly made by various Brisambistas at the board, and I feel would greatly improve the quality of play. It may, at the same time, however, also alienate some long standing drum-bangers and metal-shakers.
dual sessions.
Each session consisted of 2 parts: the first part (1 hour) was very much focused on improving the quality of play of those there. Beginners would certainly be there, with advanced players arriving later, typically. When I was there, we practiced standard patterns, but a lot of attention was paid to playing tight, playing at different speed patterns, but also other aspects such as the right way of handling a beater so as to get the best sound from your drum. For beginners, this obviously was a good starting point, and the natural way of starting to learn to play samba.
Following the 1st hour, the ‘advanced’ players would come in, and join play. I think that has a great benefit for beginners/newcomers, since they’ve then already been working on stuff and not feel overwhelmed. I can also imagine that when new patterns are rehearsed, advanced players are likely to pick them up quickly – if they don’t however, I would suggest that the school leader simply tells them to come an hour early next week – or don’t play this song. But this touches upon something else that’s difficult at Brisamba: discipline.
If one thing was clear in the sessions in Amsterdam, it was that people respected the leader and did not argue when he said their performance was lacking. For some people, the level of difficulty of some songs was clearly too much, and they would either revert to a simple pattern for that song, or not play at all. And shut up about it. They would not argue, nor suggest that, although admittedly they couldn’t play the song, they had been there a long time and should play anyway. They were instead urged to come early again next time and practice hard.
I must admit that I was quite impressed with the level of play of these Dutch samba-bangers. Sure, they were all peasants, but 6 – 8 surdos, 10-15 caixa’s, some weirdo shamelessly running his hand up and down a wooden stick in a tin can (can’t he get a girlfriend?) and a tamborim section playing very, very (very) tight with some interesting break patterns was not bad – better than we were. Mind you – their shaker section (or should I say: their shaker) wasn’t up to our standing!
I do think that Amsterdam is perhaps a somewhat more conducive environment to getting Brasilians in – pretty much every night after rehearsal a bunch of Brasilian youngsters would set up a PA and play pagoda afterwards, while everyone stuck around having drinks. Oh, and did I mention the dancers? Well, maybe it’s better if I didn’t, in case I embarrass myself.
However, I also think that this approach (dedicated practice before overall class, and importantly accepting that the school leader is there to tell you what you did well, but also that you’re not good enough for certain play) is key to progress. Whether Brisamba will still remain a great group of people who always (well, until I left, at least) have a lot of fun playing and otherwise I can’t guarantee. But I know that Remko has been looking for a way forward for a long time already, and now that he’s become bold (sooorry – nothing new there) forty, I fear he may actually give up if no change is made.
do I win the prize for longest rambling contribution so far?
Hehehe - eat your heart out, Mel B!
Marcel, you whinge like me and ramble like Mel. . . There's still some Brisamba in you ! Great input.
Fernando, to rent a PA system ( 250W RMS ) one store has given me a quote of around $180.00 overnight. If we rent regularly, the 5th rent will be free ie. 20% discount on each rental if we're regular.
No way I'll consider renting a PA regularly at a price like that (and the price seems in the ballpark) - BUT I would consider purchasing one if we can get the logistics sorted out AND if I am convinced the samba school will step up so it's worth it.
There's so much to discuss here, it's just about impossible to keep it "short and sharp"!
My response refers not only to Remko's initial ideas, but to everyone elses's suggestions as well.
Short summary is - I like most of the suggestions made. I am beyond ready to expand on what's been happening so far. In real, practical terms, to cover what we want to do will mean really organising our time well on Thursday nights.
Long feedback comments as follows.
New stuff: Bring it on.
Songs:
It would be great to include songs as part of our show. I like Fernando’s idea of starting with simple songs that everyone can sing.
After seeing what happened last year with songs… (ie most of us, including me, half-learned lyrics and fudged the rest)… I think as a first step we should sit around a table and learn the songs properly, just accompanied by a cavaco. We could set aside a portion of Thursday evenings for this. Then when we know the songs properly and can sing them with confidence, we can move to the next step of using microphones/PAs.
What I know about PA s you could write on the head of a pin. However, as a comment I should say that what I did not enjoy about the songs last year was that I couldn’t hear the singers at all and we as a group played too loudly anyway. It just sounded to me like a big mess. I’d like to start again and do it better this time. We definitely need to do songs to put more variety in our performances.
Lesson Schedule
As Brian mentioned, we do have the issue of time. But I’m confident that if we sorted out what we wanted to achieve, and made up a lesson schedule, along the lines suggested by Remko, we could cover a lot of ground. I have always felt very strongly that beginners really need to be given some instruction. To me, the practice of putting an instrument in someone’s hand, expecting them to catch on, then telling them afterwards what they should have been doing, is completely back to front. But then I’ve been boring people with this opinion for years.
Marcel’s description of how the Amsterdam samba school divides their session into two parts – beginners first, more advanced later – is something to think about.
Pagode:
I'm a bit puzzled as to why the first night of pagode went for 30 minutes, as agreed; then the second night it only went for 20 minutes. I think if we make an announcement that we're going to do it for the first 30 minutes, then we should in all fairness at least give it a proper go. If we decide we can't fit it in every week, then maybe we should look at it again, but it needs a little time. I'm also wondering whether pagode should be the last half hour of he evening rather than the first. This way the people who are less interested can go home. After paying, that is!
Money:
For myself, I'm happy to pay $8/$10 whether I'm there for all night or just an hour. We still need to pay the hall rental, after all.
If we are going to buy a PA maybe we can dedicate the fee from a gig towards that.
Professionalism
Marcel’s observations about discipline in the Amsterdam group have relevance for us and should be carefully noted. I think it's a positive thing to try and act in a professional way, even if we are "only amateurs".
Re comments about transparency as to who gets to play at certain gigs.... It has been my understanding that when organising a gig, the first consideration is the number of players required by the client to suit the venue. Sometimes it may be a corporate gig that doesn't need more than a few people. In that situation, it's only sensible to use players with the most experience. I have not been asked to play at all the gigs; nor would I expect to be. It’s not a personal slight against me. It just is what it is.
Of course, if I missed a gig involving David Tennant, then there’d be blood on the floor!!!
Skill Levels
Melanie made some good points about establishing recognition of skill levels. I agree with her that this would be a positive way to encourage players. The flow-on from this is that the band would sound better. I think identifying skill levels would clarify with people where they stand. I don’t know quite how it would be managed in a practical sense, but I think it’s a good idea.
Technique
There are all sorts of things we can practice which will give us a solid foundation to base our playing on. For instance, one thing I want to practice is playing fast but quietly. This is for when we want to feature a singer, or when a section of the group is doing a special spot.
Section leaders
I'm interested to hear how this might work - do we split up into separate sections for part of the night and practice technique with section leaders? It might be a way to not only correct errors but prepare short solo spots for when different sections are featured in performances. I would like to explore writing parts for shaker. But I need help because I flunked my music theory classes as a kid and can't write music. Is there a software program for this?
Remko, I just realised my PA system can hook up ( via 3-pin XLR ) to another active speaker(s) which could double or triple the loudness depend on how many speakers we have available .
Mine can be used as a personal monitor for the cavaco player/singers and the other speaker(s) can face the Samba school.
If you or someone in our school could bring one active speaker to try and see if it works. If so, we can buy a second-hand active speakers on the Courier Mail's Weekend Shopper. I saw one pair ( 250W ) for sale last week for $150.00.
If successful, may be we could buy just ONE powerful active speaker ( 500W )to save space and effort to lug around. Even store and chain it somewhere at the Polish Club.
Section Leaders:
Split into groups sounds like a good ideas. There are several areas groups can practice.
(1) The stage : pull the heavy curtain shut will give an instant sound barrier (2) External fire escape outside: Close the fire escape door shut will give another practice space (3) The Car Park (4)The kitchen (5). . and Don't forget the toilets !!! .
Cool ideas.
Melbourne samba school: They have a beginners section and then the 'band' rehearsal. Carlos encouraged songs too - no PA, you don't need it if everyone sings and you play suitably, ie Magalenha - Sergio Mendes. The cost for the beginner lesson was comparable to Brisamba.
Wellington batucada, NZ: same rehearsal set up as Melsamba although no songs. They had some original compositions. Cost to the players was voluntary donation.
I think pagode should be just left to the breaks - a lot of us have been jamming anyway when folks are having cigarettes. Or do people actually want a break (I may suffer from samba-induced ADHD)?
To play quietly we need different set of instrument and new skill. Last week I couldn't back Remko's cavaco up because my tan-tan technique is not up to speed yet.
Brian, we're playing in a Samba School, let's stay focussed please. I am not turning this into a 'pagode school' (if there were such a thing), those instruments are more complex and not suitable to be taught in a class-like setting like we have.
" Remko, I'm so excited ! "
So many good suggestions. Hope we can implement them all.
Maybe we can do bodypainting as well? I wouldn't be so bored anymore!
Thank you all for your input, lots of good points there. I've started to summarise the useful points as preparation for a revamp.
Anyone has any further (realistic) ideas about how to get a PA during the rehearsals?
I really like the ideas of:
1. Separating into sections and getting the basics down, and taking the time to sit with more experienced players to learn constructively and not a sketchy 10 second tutorial during play. Each section has at least one experienced and talented player, so why not put their skills to better use..
2. Respecting Remko as the leader and the choices he makes! Enough said.
3. Marcel's feedback from the Amsterdam samba school- start the evening off with less experienced players and meanwhile the others can either have a beer or come later.
I know I haven't said anything new, but I do like the ideas floating around and really hope we can move forward!
Remko, Can we lock up the PA in the store room between the car park and the hall ? As a regular user of the Polish Club , surely they can find a small space somewhere we can lock the PA system away.
The Polish Club can rent out the PA system on the Samba School behalf . We can get our money back in the long run. . . Or rent it to our members who have other musical commitment, corporate meeting, wedding and party etc.
Renting the PA system from the Samba School at a slightly cheaper rate. That's the incentive for good players to stay on with the School. And maintain the skill.
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